China Studies Wiki - User contributions [en]

20220630 Culture 4

2022-07-06T06:39:07Z

Liao Shiyun: /* Key words */

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

==This is the final exam paper website no. 4==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译李颖 Li Ying 202170081578==
<center>'''Overview on Miaoyu'''</center>

<center>Li Ying</center>

===Abstract===
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.

===Keywords===
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language

===Literature Review===
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.

After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.

During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.

At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.

===Methods and Theories===
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.

===Subtitle 1：The Motivation of the Miaoyu===

In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

===Subtitle 2:Miao Nationality===
1.The Source of the Name “Miao”

There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.

2.The Distribution of Miao Nationality

(1)Domestic Distribution

The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.

(2)Overseas Distribution

The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.

The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===
1.Origin of the Miao

Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.

There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.

The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."

2.Historical formation of the Hmong

This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".

The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.

Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.

During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

===Subtitle 4: Miao Folk Beliefs===
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.

Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.

The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.

Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.

Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.

In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

===Subtitle 5:Overview of the Hmong Language===
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.

After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.

Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.

1.Characteristics of Xiangxi dialect

The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.

2.Qiandong dialect

The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.

3.Chuanqian Dian dialect

The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.

The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.

The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.

The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.

The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.

The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.

(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.

(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".

In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.

The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."

The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.

(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example

In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.

The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.

The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.

===Conclusion===
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

===References===
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house

==英语笔译李媛 Li Yuan 202170081579==
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center>

<center>Li Yuan</center>

===Abstract===

The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.

===Key words===

phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''

===Introduction===

The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning.

There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.

===Definition of Phonetic Loan Characters (Tongjiazi)===

The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.

To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.

It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.

===Origin and Development of Phonetic Loan Characters (Tongjiazi)===

This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.

One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.

One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.

One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.

One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).

One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.

One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.

One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.

The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods (770 BC to 221 BC), when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yitizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states in 221 BC and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty (24 AD to 220AD), Xu Shen's ''Shuowenjiezi'' (《说文解字》) was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties (220 AD to 589 AD), some men of letters still used Tongjiazi, but during the Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.

===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).

===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===

To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. In this regard, the influence of Tongjiazi on translation is the ability of translators obtained to identify and verify those characters. With the development of the times, the majority of ancient texts now have annotated versions, that is, intra-lingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.

In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. Apart from that, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on Classics of Difficulties Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in Synopsis of Golden Chamber Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical works, which shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.

===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===

''The Analects of Confucius'' (《论语》) is a collection of discourses compiled by the disciples of generations of the thinker and the educator Confucius in the Spring and Autumn period to record the words and actions of Confucius and his disciples. It is a collection of 492 chapters, mainly in the style of discourses and supplemented by narratives, and reflects the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a concentrated manner. The main feature of the work is its concise language, which is easy to understand, but has a far-reaching and profound meaning. Its language style is implicit and plain, and it is able to present characters in simple dialogue and action. Since the Song Dynasty, it has been listed as one of “the Four Books”, and has become an official textbook for ancient schools and a compulsory reading material for the imperial examinations.

The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. There are a total of 6 phonetic loan characters in this work, which are “便” used as “辩”, “加” used as “假”, “桴” is used as “泭”, “麑” means “鹿”, and “礼” replaced by “献”. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. It is understandable that the existence of the phenomenon of Tongjiazi often poses a barrier to reading and comprehension for Chinese readers, who may be tempted to literally understand the original text if they are not careful, and it is not very realistic for foreign readers or translators who read or translate Chinese texts to accurately identify each and every Tongjiazi. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraphrasing (liberal translation).

(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)

TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.

In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.

(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)

TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.

In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.

(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)

TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”

In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.

(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》)

TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.

In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.

(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》)

TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.

In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.

(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》)

TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.

In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.

Therefore, for Tongjiazi in ''the Analects of Confucius'', there are three main methods to translate them into English. They are literal translation of the original character, literal of the phonetic loan character, and paraphrasing (liberal translation). As mentioned in the definition of Tongjiazi, it is of significant importance to define phonetic loan characters by distinguishing them from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Identifying those characters is the first step to understand and translate them correctly. In fact, the translation process of Chinese classics is from ancient Chinese to modern Chinese and then to English, so in addition to basic bilingual skills, the translator should have a good command of some knowledge of Tongjiazi, resort to some high-quality dictionaries for more information and ask some scholars and experts in this field for help, in an effort to avoid translation mistakes.

===Conclusion===

This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. In order to have a good understanding of the definition of phonetic loan characters (Tongjiazi), it is critical to grasp the differences between phonetic loan characters (Tongjiazi) and ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one is due to the need for euphemism. As for the origin and development of phonetic loan characters(Tongjiazi), which can be dated back to Pre-Qin period (Palaeolithic Age to 221 BC), and then appeared in large numbers during the Spring and Autumn and Warring States periods (770 BC to 221 BC). After Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), the former phonetic loan characters were stopped gradually and new ones were not allowed to come into being. With the advent of vernacular Chinese, Tongjiazi was discontinued completely. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts.

So, when translating such texts, translators need to acquire certain skills and obtain certain knowledge about phonetic loan characters (Tongjiazi). In addition to a certain level of reading skills and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi by asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of the Analects of Confucius as an example, analyses the English translation of Tongjiazi in it, and sums up three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, to provide some suggestions for the English translation of phonetic characters (Tongzijia) and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi. Chinese classics represent the tradition Chinese culture and language , thus serving as a valuable window through which other countries can learn Chinese language and culture. Their language style of ancient characteristics and the existence of phonetic loan characters have posed a barrier for translators to do their work, which in turn hinders the dissemination of Chinese culture and language into the world. In this regard, it is of significant importance to explore the translation of phonetic loan characters (Tongjiazi), in an attempt to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.

===References===

*Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程教材教法》], (6): 39 pp.

*Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.

*Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.

*Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程教材教法》], (4): 26-29+34 pp.

*Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].

==英语笔译李梓婕 Li Zijie 202170081580==
<center>'''Confucius Institutes'''</center>

<center>Li Zijie</center>

===Introduction===
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese.
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.

===Overview of Confucius Institutes===

===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===

===Analysis of the Current Situation of Confucius Institutes (Case Study)===

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answer===

==英语笔译梁思婷 Liang Siting 202170081581==

==英语笔译廖诗韵 Liao Shiyun 202170081582==

<center>'''Study on The translation Strategies of Chinese Idioms'''</center>

<center>Liao Shiyun</center>

===Abstract===
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotations, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.

===Key words===
Idioms; ''Fortress Besieged''; Foreignization; Domestication

===Introduction===

With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and cultural factors have always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of the Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.

===Literature review===

Mo Lihong and Ge Lingling (Ge 2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, the combination of literal translation and liberal translation, and CorrespondingTranslation.
Sun Haibo (Sun 2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (Zhang 2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attributed to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (Wang 2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (He 2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (Shi 2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.

===the Translation Strategy of Idioms===
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreignization and domestication are the fundamental strategies adopted for cultural transformation in translation.

(1)Foreinization and Domestication

Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his book, The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreignization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.

Advantages and disadvantages of Domestication

The biggest advantage of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of the target language and culture.

However, dominated by this translating strategy, the uniqueness of the original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over-domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.

Advantages and disadvantages of Foreignization

As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop cross-cultural awareness and acquire different reading experiences in other languages and cultures. Secondly, foreignization also can widen readers' horizons and promote mutual understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.

Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for target language readers, which will diminish their interest in the certain text and hinder translation activities.

===The Introduction of Chinese Idioms===
(1)Definition

Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.

(2) Basic features

(2.1) Fixed structure
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.

(2.2)Number-fixed words
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight, then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.

(2.3) The integrity of meaning
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to working".

===The Cultural Difference between Chinese and English idioms===
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.

(1) Differences in Living Environment

Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide an enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.

(2) Differences in social customs

Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different for each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protecting their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends), etc..

(3) Differences in Religious Beliefs

Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sth to make a gift of it), etc.

(4) Differences in History and Culture

Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..

===Case study===

This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle-class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.

(1) Foreignization

When adopting the strategy of foreignization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.

Example 1：艳如桃李，冷若冰霜

Translation：as delectable as peach and plum and as cold as frost and ice

Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as the frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.

Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。

Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was conforming to tradition, he argued.

Analysis: “春秋” referred to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” referred to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.

Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。

Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”

Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.

(2) Domestication
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural backgrounds, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.

Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。

Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.

Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.

Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。

Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”

Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.

Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。

Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.

Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression
“were not in each other’s way”, so that the target language readers can quickly understand the original text.

===Conclusion===

Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotations, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.

===References===
[1]He Yongbin 何勇斌(2016).从文化传播视角探析汉语成语翻译[J].语文建设,73-74.

[2]Mo Lihong莫丽红&Ge Lingling戈玲玲(2012).关联翻译理论视角下的汉语成语翻译[J].湖南社会科
学,(02):189-191.

[3]Qian Zhongshu钱钟书(2003).围城[M].(美)珍妮凯利，茅国权译.北京:人民文学出版社.

[4]Shi Xiaoping史小平(2018).译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,31(19):173-175.

[5]Sun Haibo孙海波(2013).文化差异下的英汉成语翻译[J].学术探索,(08):105-107.

[6]Shuttleworth, Mark(1997). Dictionary of Translation Studies[Z]. Manchester: St. Jerome.

[7]Venuti, Lawrence(1995). The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge.

[8]Venuti, Lawrence(2006). The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press.

[9]Wang Qin王勤(2014).四字格成语中颜色词的英译策略[J].湖南社会科学,(04):225-227.

[10]Zhang Jingjing张晶晶(2014).功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,(06):26-28

20220630 Culture 4

2022-07-06T06:38:32Z

Liao Shiyun: /* 英语笔译廖诗韵 Liao Shiyun 202170081582 */

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

==This is the final exam paper website no. 4==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译李颖 Li Ying 202170081578==
<center>'''Overview on Miaoyu'''</center>

<center>Li Ying</center>

===Abstract===
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.

===Keywords===
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language

===Literature Review===
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.

After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.

During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.

At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.

===Methods and Theories===
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.

===Subtitle 1：The Motivation of the Miaoyu===

In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

===Subtitle 2:Miao Nationality===
1.The Source of the Name “Miao”

There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.

2.The Distribution of Miao Nationality

(1)Domestic Distribution

The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.

(2)Overseas Distribution

The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.

The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===
1.Origin of the Miao

Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.

There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.

The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."

2.Historical formation of the Hmong

This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".

The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.

Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.

During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

===Subtitle 4: Miao Folk Beliefs===
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.

Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.

The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.

Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.

Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.

In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

===Subtitle 5:Overview of the Hmong Language===
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.

After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.

Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.

1.Characteristics of Xiangxi dialect

The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.

2.Qiandong dialect

The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.

3.Chuanqian Dian dialect

The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.

The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.

The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.

The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.

The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.

The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.

(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.

(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".

In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.

The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."

The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.

(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example

In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.

The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.

The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.

===Conclusion===
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

===References===
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house

==英语笔译李媛 Li Yuan 202170081579==
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center>

<center>Li Yuan</center>

===Abstract===

The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.

===Key words===

phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''

===Introduction===

The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning.

There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.

===Definition of Phonetic Loan Characters (Tongjiazi)===

The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.

To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.

It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.

===Origin and Development of Phonetic Loan Characters (Tongjiazi)===

This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.

One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.

One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.

One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.

One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).

One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.

One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.

One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.

The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods (770 BC to 221 BC), when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yitizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states in 221 BC and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty (24 AD to 220AD), Xu Shen's ''Shuowenjiezi'' (《说文解字》) was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties (220 AD to 589 AD), some men of letters still used Tongjiazi, but during the Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.

===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).

===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===

To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. In this regard, the influence of Tongjiazi on translation is the ability of translators obtained to identify and verify those characters. With the development of the times, the majority of ancient texts now have annotated versions, that is, intra-lingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.

In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. Apart from that, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on Classics of Difficulties Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in Synopsis of Golden Chamber Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical works, which shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.

===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===

''The Analects of Confucius'' (《论语》) is a collection of discourses compiled by the disciples of generations of the thinker and the educator Confucius in the Spring and Autumn period to record the words and actions of Confucius and his disciples. It is a collection of 492 chapters, mainly in the style of discourses and supplemented by narratives, and reflects the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a concentrated manner. The main feature of the work is its concise language, which is easy to understand, but has a far-reaching and profound meaning. Its language style is implicit and plain, and it is able to present characters in simple dialogue and action. Since the Song Dynasty, it has been listed as one of “the Four Books”, and has become an official textbook for ancient schools and a compulsory reading material for the imperial examinations.

The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. There are a total of 6 phonetic loan characters in this work, which are “便” used as “辩”, “加” used as “假”, “桴” is used as “泭”, “麑” means “鹿”, and “礼” replaced by “献”. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. It is understandable that the existence of the phenomenon of Tongjiazi often poses a barrier to reading and comprehension for Chinese readers, who may be tempted to literally understand the original text if they are not careful, and it is not very realistic for foreign readers or translators who read or translate Chinese texts to accurately identify each and every Tongjiazi. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraphrasing (liberal translation).

(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)

TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.

In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.

(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)

TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.

In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.

(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)

TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”

In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.

(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》)

TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.

In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.

(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》)

TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.

In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.

(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》)

TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.

In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.

Therefore, for Tongjiazi in ''the Analects of Confucius'', there are three main methods to translate them into English. They are literal translation of the original character, literal of the phonetic loan character, and paraphrasing (liberal translation). As mentioned in the definition of Tongjiazi, it is of significant importance to define phonetic loan characters by distinguishing them from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Identifying those characters is the first step to understand and translate them correctly. In fact, the translation process of Chinese classics is from ancient Chinese to modern Chinese and then to English, so in addition to basic bilingual skills, the translator should have a good command of some knowledge of Tongjiazi, resort to some high-quality dictionaries for more information and ask some scholars and experts in this field for help, in an effort to avoid translation mistakes.

===Conclusion===

This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. In order to have a good understanding of the definition of phonetic loan characters (Tongjiazi), it is critical to grasp the differences between phonetic loan characters (Tongjiazi) and ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one is due to the need for euphemism. As for the origin and development of phonetic loan characters(Tongjiazi), which can be dated back to Pre-Qin period (Palaeolithic Age to 221 BC), and then appeared in large numbers during the Spring and Autumn and Warring States periods (770 BC to 221 BC). After Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), the former phonetic loan characters were stopped gradually and new ones were not allowed to come into being. With the advent of vernacular Chinese, Tongjiazi was discontinued completely. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts.

So, when translating such texts, translators need to acquire certain skills and obtain certain knowledge about phonetic loan characters (Tongjiazi). In addition to a certain level of reading skills and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi by asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of the Analects of Confucius as an example, analyses the English translation of Tongjiazi in it, and sums up three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, to provide some suggestions for the English translation of phonetic characters (Tongzijia) and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi. Chinese classics represent the tradition Chinese culture and language , thus serving as a valuable window through which other countries can learn Chinese language and culture. Their language style of ancient characteristics and the existence of phonetic loan characters have posed a barrier for translators to do their work, which in turn hinders the dissemination of Chinese culture and language into the world. In this regard, it is of significant importance to explore the translation of phonetic loan characters (Tongjiazi), in an attempt to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.

===References===

*Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程教材教法》], (6): 39 pp.

*Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.

*Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.

*Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程教材教法》], (4): 26-29+34 pp.

*Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].

==英语笔译李梓婕 Li Zijie 202170081580==
<center>'''Confucius Institutes'''</center>

<center>Li Zijie</center>

===Introduction===
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese.
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.

===Overview of Confucius Institutes===

===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===

===Analysis of the Current Situation of Confucius Institutes (Case Study)===

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answer===

==英语笔译梁思婷 Liang Siting 202170081581==

==英语笔译廖诗韵 Liao Shiyun 202170081582==

<center>'''Study on The translation Strategies of Chinese Idioms'''</center>

<center>Liao Shiyun</center>

===Abstract===
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotations, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.

===Key words===
Idioms; Fortress Besieged; Foreignization; Domestication

===Introduction===

With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and cultural factors have always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of the Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.

===Literature review===

Mo Lihong and Ge Lingling (Ge 2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, the combination of literal translation and liberal translation, and CorrespondingTranslation.
Sun Haibo (Sun 2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (Zhang 2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attributed to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (Wang 2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (He 2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (Shi 2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.

===the Translation Strategy of Idioms===
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreignization and domestication are the fundamental strategies adopted for cultural transformation in translation.

(1)Foreinization and Domestication

Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his book, The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreignization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.

Advantages and disadvantages of Domestication

The biggest advantage of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of the target language and culture.

However, dominated by this translating strategy, the uniqueness of the original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over-domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.

Advantages and disadvantages of Foreignization

As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop cross-cultural awareness and acquire different reading experiences in other languages and cultures. Secondly, foreignization also can widen readers' horizons and promote mutual understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.

Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for target language readers, which will diminish their interest in the certain text and hinder translation activities.

===The Introduction of Chinese Idioms===
(1)Definition

Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.

(2) Basic features

(2.1) Fixed structure
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.

(2.2)Number-fixed words
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight, then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.

(2.3) The integrity of meaning
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to working".

===The Cultural Difference between Chinese and English idioms===
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.

(1) Differences in Living Environment

Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide an enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.

(2) Differences in social customs

Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different for each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protecting their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends), etc..

(3) Differences in Religious Beliefs

Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sth to make a gift of it), etc.

(4) Differences in History and Culture

Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..

===Case study===

This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle-class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.

(1) Foreignization

When adopting the strategy of foreignization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.

Example 1：艳如桃李，冷若冰霜

Translation：as delectable as peach and plum and as cold as frost and ice

Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as the frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.

Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。

Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was conforming to tradition, he argued.

Analysis: “春秋” referred to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” referred to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.

Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。

Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”

Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.

(2) Domestication
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural backgrounds, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.

Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。

Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.

Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.

Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。

Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”

Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.

Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。

Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.

Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression
“were not in each other’s way”, so that the target language readers can quickly understand the original text.

===Conclusion===

Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotations, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.

===References===
[1]He Yongbin 何勇斌(2016).从文化传播视角探析汉语成语翻译[J].语文建设,73-74.

[2]Mo Lihong莫丽红&Ge Lingling戈玲玲(2012).关联翻译理论视角下的汉语成语翻译[J].湖南社会科
学,(02):189-191.

[3]Qian Zhongshu钱钟书(2003).围城[M].(美)珍妮凯利，茅国权译.北京:人民文学出版社.

[4]Shi Xiaoping史小平(2018).译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,31(19):173-175.

[5]Sun Haibo孙海波(2013).文化差异下的英汉成语翻译[J].学术探索,(08):105-107.

[6]Shuttleworth, Mark(1997). Dictionary of Translation Studies[Z]. Manchester: St. Jerome.

[7]Venuti, Lawrence(1995). The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge.

[8]Venuti, Lawrence(2006). The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press.

[9]Wang Qin王勤(2014).四字格成语中颜色词的英译策略[J].湖南社会科学,(04):225-227.

[10]Zhang Jingjing张晶晶(2014).功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,(06):26-28

20220630 Classics 2

2022-07-06T06:30:26Z

Liao Shiyun: /* 英语笔译廖诗韵 Liao Shiyun 202170081582 CE */

Back to course homepage: [[Chinese Classics Translation 2022]], back to final exam paper overview: [[20220630_Classics]]

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Classics_save]]

==This is the final exam paper website no. 1==

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103.
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

===References===
*Hall E T .(1976).Beyond Culture. chicago.

*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.

*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123.

*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.

*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh

*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.

*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.

*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.

*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28.

*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.

*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
With the advent of the new media era, there are both opportunities and challenges for the publication and dissemination of Chinese classics. The driving force of new media uses "Internet technology" as its core, and has reconstructed the consumption pattern of human society and culture. For such "heavyweight" publications as cultural classics, only by ways like "going out" and "cross-cultural communication" can they create greater economic, cultural and social benefits. Objectively, it is necessary to study the new forms and characteristics of Chinese classics publication and external dissemination from the new perspective of industry, to analyze new problems occurred during disseminating, and to study new strategies that can promote external dissemination, so as to expand the influence of Chinese classics in the world, and enhance the voice of Chinese culture in international exchanges.

===Key words===
new media; Chinese classics; communication and innovation

===Introduction===
Chinese traditional culture has a long history. It is a unique culture that reflects the characteristics and style of the nation and is brought together by the evolution of Chinese civilization. Due to the limitation of communication technology in different eras, the dissemination and inheritance of traditional culture show different characteristics. With the development of the times, we have entered the information age, and highly developed computer technology and network technology have become the most commonly used new information dissemination and storage tools. According to the 41st Statistical Report on Internet Development in China released by the China Internet Network Information Center, as of December 2017, the number of Internet users in this country reached 772 million, and the penetration rate reached 55.8%. Among them, 753 million Internet users use mobile phones to access the Internet, accounting for 97.5% of the online population. The high development of the Internet has given traditional culture a new carrier and mode of dissemination. It must adapt to the development of the times in order to obtain the best dissemination effect.

=== The dissemination of classics in the new media era===
With the development of network technology, the dissemination of traditional culture is undergoing an essential leap, and the forms of cultural dissemination have become rich and diverse. It is necessary to make good use of these new forms to help the dissemination of traditional culture. The following text will introduce several new forms of the dissemination of classics in the present era.

1) Digital storage of Chinese classics.
The inheritance of traditional culture requires the preservation and inheritance of books and documents. In the past, it was mainly recorded by means of paper books. However, with the rapid development of computer technology, digital databases have become the main place for document collection, storage, processing and dissemination. All documents can be converted into coded forms and stored in computers, and then classified, processed and managed by computers. Form a massive information base. At present, the most used databases is the "Basic Chinese Ancient Books Library", which is the largest and most complete collection of literature and classics in Chinese history. The digital storage of classics can help the preservation and inheritance of traditional culture. On the one hand, it can collect massive information, which is the continuation of traditional libraries. On the other hand, it has the function of quick search and query,providing a convenient platform for people learning history and culture.

2) Video communication of classics and cultural products.
Technological progress has also provided technical conditions for the inheritance and promotion of classics and cultural products. On the one hand, the digital and high-fidelity storage of some cultural products can be easily achieved through technical means. For example, the objects, art forms, and humanistic stories described in the classics can be filmed and recorded by people, and the text content can be videoized,and thoese videos could be made into DVDs and VCDs, in this way, cultural consumers can not only enjoy various stone carvings, paintings, writing, handicraft products, etc., which embody the wisdom of ancient people, but can also enjoy arts like dances, music and dramasthat inherit traditional Chinese culture.
On the other hand, with the maturity of live broadcast technology, webcasting, this new form of communication, has also become a booster for the inheritance and development of traditional culture. Real-time live broadcast can not only fully and truly display various traditional cultural products, but also stimulate the participation and enthusiasm of the audience, and achieve a good communication effect. For example, from June 4th to June 9th this year, the Museum of Prince Kung’s Mansion(恭王府博物馆) of the Ministry of Culture, together with a number of units, launched the 2018 “Splendid China—China’s Intangible Cultural Heritage Costume Show” series of activities, and actively cooperated with major online broadcasts platforms such as Qianfan Live（千帆直播）, KK Live（KK 直播）, Xiuse Live（秀色直播）, etc., and the number of hits of the online live broadcast in just the first three days has exceeded 28 million. In 2017, the Chinese intangible cultural heritage costumes show held in Prince Kung's Mansion
, there were more than 400 sets of clothing on display, with nearly 4,000 audiences, and more than 20 million viewers on various online platforms. The scope and effect of communication far exceeded the scene.
It can be said that the video transmission of traditional cultural works has made up for the regret that vocal music and performing arts cannot be reproduced, so that people can break through the shackles of space, stay at home, and enjoy those videos through the Internet or computer anytime and anywhere they want . It provides more convenient conditions for traditional culture‘s inheritance and development.

3) The circle spread of classics.
The progress of the Internet has made the communication between online people convenient and frequent, forming network groups one by one. When netizens consciously form a group because of a certain topic or event, there will be network circles of communication. Although it is said that the formation of network groups is random and free, cohesiveness is weak, and it lacks restraint, it is easy to dissolve, but it is extremely infectious. QQ groups, WeChat official accounts, WeChat groups, fixed boards on forums, etc., can all become fixed circles. On the Internet, there are many groups with classics as a common topic, such as classic novel groups, poetry and song groups, etc. The existence of these groups has also played a huge role in the spread of classics.

4) Interactive communication of computer networks.
One of the characteristics of network communication is its strong initiative. In the process of communication, there is interaction between the audience and the media, and between the audience and the audience. The audience can become both the receiver of information and the disseminator of information. Information can be obtained through the media, and information can be released through the media. This kind of interactive communication has brought new requirements to the communication of classics, that is, cultural communication needs to take into account the dual needs of the public and individuality, to satisfy both the interests of the public and the tastes of the minority, which makes the form of classics show unprecedented richness.
Taking "China in Classics" （电视节目《典籍里的中国》）as an example, the program sets up multiple stages to show the "historical space" in the classics and the "real space" outside the classics,in order to achieve the effect of time travel. In the historical space, the program adopts the filming technique of films and televisions, which vividly restores the stories of the classics and makes them more visualized. In addition, the programming division also joined forces with the National Theatre and the Chinese Academy of History to bring traditional classics to the screen through innovative methods. through sophisticated costume，make-up and props, high-level photography and post-production, omni-media presentation, and multi-platform promotion the programming division have reached a new high of audience rating, making people pay more attention in calssics. There are different scenes and stories on different stages, combined with a large number of authentic props and a huge high-definition electronic screen, so that the audience can watch the drama in 360 degrees, and it also enables the audience in front of the screen to feel the drama story more deeply, Increasing the audience's sense of substitution.

=== New features of the publication and dissemination of Chinese classics in the new media era===
In view of the "high context" positioning of Chinese culture in the media perspective, although China is a big country in the production of cultural classics, it has not yet reached the level of a powerful country in publishing and disseminating cultural classics.
In order to allow mankind to share the fruit of Chinese civilization, it is urgent to innovate the existing ways to publish and disseminate ancient books; the arrival of the new media era has provided new opportunities for the publishing and dissemination of Chinese classics, and the publication and dissemination have already been showing new characteristics.
1) The high-efficiency characteristics of publication and dissemination formed by new technologies
New technology has greatly improved the efficiency of publication and dissemination. On the one hand, for readers of classics, after the "print" has become "digital", Internet technology has let all kinds of calssics disseminate faster, and given calssics wider dissemination space. Converted into data and information storage, the heavy paper book of Comprehensive Mirror to Aid in Gover （《资治通鉴》） only requires a few megabytes of space, and readers can quickly obtain the required content through retrieval, saving a lot of time and energy, thereby improving the transmission efficiency.
On the other hand, for the producers of classic books, in the process of publications supported by new technologies, a large number of information about sales，returns and evaluation could become a good market support for the publication and external distribution of classics. Due to the needs of economic interests, the traditional publishing industry needs to do a lot of preparatory work before the establishment of the project, especially the publication market demand survey, scale estimation, etc., which are not only time-consuming and labor-intensive, but also limited by technical means and sampling scope. The results obtained often do not match the actual needs. With the help of the new media, the disadvantages of inaccurate demand data and blind publishing direction under the traditional publishing model can be effectively avoided. For example, publishers can collect demand information through an online questionnaire on "readers' favorite cultural classics", combined with the sales and evaluation data of the book sales platform to determine the editing angle, so as to improve the satisfaction of the publishing market of classic books and improve the operation efficiency of the publishing industry.

2) The fusion characteristics of publishing and dissemination formed by the new environment
Objectively, the new media era is also a typical "image-reading era". Images, videos, animations and other forms of communication are far more breathtaking than the impact of words, and the content of Chinese cultural classics lacks the "image-reading function"—— Under the concept of "text carries the Tao"（文以载道）, the text description is more profound, and the image performance is superficial; but it is undeniable that there are rich cultural resources in Chinese classics, including literature, history, politics, science and technology, etc., providing rich materials for the creation of other cultural products, such as film, television, opera and other cultural carriers, which have been provided a better audio-visual experience in the new media environment, and its cultural communication influence is even far higher than the original work. Taking China's "Four Great Classics" as an example, it has been regarded as a classic for many years after it was adapted from the form of cultural classics publication to the form of TV series. The reason why those TV series remain popular in years is that, in addition to the fact that the adapted TV series is very loyal to the original work and well inherited the cultural essence, historical background and values contained in the classics, the more important thing is that through adaptation, a single text is transformed into a richly expressive audio-visual form, giving the audience a refreshing experience, which is not available in the form of publication; at the same time, the adapted literary classics film and television dramas create classic characters,and have realized the in-depth development of the value of classics, among them, there are many famous experts and scholars with cultural attainments guiding those dramas. For example, the 87th edition of "Dream of Red Mansions" was guided by Zhou Ruchang（周汝昌）, Shen Congwen（沈从文）and others. This is essentially a kind of improvement and enrichment of classics. Many content of the classics has been adapted and transformed into a more suitable form of communication in the new media environment, which can arouse the audience's attention to the original work and increase the sales of classics
This transformation of carrier form will not weaken the value of classics, but can help realize the integration of values in communication.

=== New ideas for publishing and disseminating Chinese cultural classics in the new media era===
1) Aim to enhance the influence of Chinese culture
The era of new media presents a state of aggregation of multiple cultures in the same social space, and under the influence of the infiltration of different values, it is inevitable that it will affect the "purity" of traditional Chinese classics, and even appears "mutation" and "subversion". In the face of the challenges of cultural communication in the new media era, on the one hand, we cannot blindly avoid it, work behind closed doors, or attribute the phenomenon of "cultural erosion" to the development of Internet technology, and just let it go and do nothing. Instead, we should actively face it and strive for the right to speak in the new media era by building up cultural self-confidence, enhancing China's cultural soft power. On the other hand, we must be soberly aware that the current world structure is complex, international competition is fierce, and the essence of the ideological struggle is the competition between different cultures. In the context of the new media era, we must be good at tapping our own cultural advantages and integrate into the world cultural trend—the publication and dissemination of Chinese classics is an important way, it is not only a The essence of traditional Chinese culture, but also a wealth of knowledge shared by all human beings. Especially in the long historical process, the symbolic symbols formed by "Chinese culture" are mostly derived from classics, which have a relatively high degree of recognition in the world.

2)Get support through the supply-side reform of the publishing industry

Ⅰ. Optimizing the Operational Thinking of Each Link of the Publishing Industry Chain
Every link in the publishing industry chain, including publishing houses and distributors, should fully recognize the shortcomings of the traditional publishing industry chain in the new media environment, and constantly explore the means to maximize the benefits of products and communication based on their own. In particular, we must pay attention to the huge impact of Internet technology on industries , realize the diversity of cultural classics through technological integration, and further enrich its market form, such as adding animation special effects technology, audio technology, video technology, etc. on the basis of digital technology to better adapt to The reading habits of new media users to optimize the user experience.

II. Strengthen the cultivation of outstanding publishing talents in the new media era
In view of the systematicness and complexity of Chinese classics, the traditional publishing process often emphasizes that the relevant talents should have profound knowledge and the ability to control language and characters. However, in the new media era, we should also strengthen the training of technical talents, including in the fields of digital publishing technology, software development technology, information management technology, etc., and comprehensively promote the digital engineering construction of classics, so as to better realize the development,application and protection in the new media era. , such as the "National Books Museum" project developed by the "National Digital Library of China", it is worth learning from.

Ⅲ. Accelerate the integration of resources in the publication and dissemination of classics
On the one hand, in the field of classics publishing, by summarizing and sorting out various methods and methods, China should explore digital development methods, multiple publishing methods, multimedia printed books presentation methods, visual image expression methods and intelligent voice reading methods etc.,to meet the integration needs of different types of technical resources in the same classics products.
On the other hand, in the field of external dissemination of classics, taking into account the speed and breadth of dissemination, China should establish and improve the database of Chinese classics for other cultural backgrounds to achieve effective integration and efficient use of content resources.

3) Leading with innovative marketing and promotion models
Compared with traditional media, new media subverts not only the communication medium, but also the production and consumption of cultural products in a broad sense.The two major market modules of publishing and dissemination have undergone tremendous changes, especially offline book sales channels (including cross-cultural communication) are facing collapse under the impact of online e-commerce sales platforms.
At the same time, in the process of publishing and disseminating of classics in China, there are obvious disadvantages of "emphasizing publishing and ignoring marketing". The marketing of cultural classics is often concentrated in specific groups such as government departments, colleges and universities, and research institutions, which seriously restricts the role of innovative marketing models.
Therefore, in the publication and dissemination of classics, we should actively turn to the "Internet model" based on innovative marketing and promotion models, including the effective integration, reorganization, and application of internet thinking, internet technology, internet policies and related supporting resources. Breaking the long-term situation of "single soldier fighting" and "separate management" in the publishing and external dissemination of Chinese classics, draw lessons from the marketing strategies of large international publishing groups, through division of labor and cooperation, complementary advantages and strong combination, we could establish a innovative marketing framework of "precise positioning and three-dimensional promotion" .

===New strategies for publishing and disseminating of Chinese classics in the new media era===
1) Based on cross-cultural communication and enhance reader's experience
Chinese classics are all-encompassing and rich in content. So the actual needs of the target readers must be considered, before publication, editors must filtrate, organize and edit the content, and place them in the entire publishing industry chain to review and observe whether there are cultural classics products with homogeneity and strong competitiveness, and to avoid market risks based on this. In particular, the characteristics of cross-cultural communication must be considered in the process of "foreign dissemination". Chinese classics face "double obstacles" in the foreign dissemination; There is a reading and translation barrier between ancient Chinese and modern Chinese, and there is also a reading and translation barrier between Chinese and foreign languages. Therefore, in order to achieve the acceptance of Chinese cultural classics by more foreign readers, it is necessary to meet the translation needs in intercultural communication "Enhancing reader's experience" also needs to introduce new media variables. Internet technology promotes reading to become "fragmented", and cultural consumption pursues "fast food", which is unfavorable for the publication and dissemination of "voluminous work" , according to this change, we can further exert the advantages of new media electronic books retrieval, such as Historical Records（《史记》）, The Analects（《论语》）, Sun Tzu's Art of War（《孙子兵法》） and other classics, there is a good content decomposition mechanism in itself, which can be easily read by subdividing information resources, so as to enhance the reader's experience.

2) The content should focuse on simplicity and reduce the reading burden
The so-called "simplicity" is not the same as "simple" or "simplification", but to "disconnect" the classics according to the principle of moderation, so that the publication status and dissemination status are more suitable for the needs of "going out". Publishing organizations must make choices when it comes to editing classics, and they must learn to focus on the big picture and let go of the small things, and fully consider the limited understanding of foreign Chinese classics readers, otherwise readers will be confused and lose interest in reading. In order to reduce the reading burden, the editors of cultural classics should follow the principle of "The greatest truths are the simplest.（大道至简）", and integrate thinking of Chinese civilization with thinking of foreign culture, to convey the richest connotations through the most refined words, and appropriately use symbolism to express those connotations. For the parts that need further explanation, the editors can use the "link" mode, providing the explanation on digital publishing platforms, or match necessary reading guides with the publication of cultural classics; on the whole, it is a high challenge for publishing and editing work.

3) Adapt to the Internet context and pay attention to the concept of community
The new media era provides people an unprecedented free social environment, the space and time constraints are eliminated, and "interest" has become an important force for gathering communities. This new era have given birth to blogs, Weibo, forums, WeChat and many other media platforms,their appearance have helped establish the foundation of "cultural circles" for interest communities. and there are many readers at home and abroad who are interested in Chinese classics, which provides a good support for the publication and dissemination of classics. Based on this, in the process of publishing and disseminating Chinese classics, publishers should actively adapt to the internet context, actively integrate into interest communities, collect readers' demand information as the basis for topic selection and planning, and even select editors, translators, and writers from readers. The current domestic model of "crowdfunding and publishing books" is a good inspiration for the publication of Chinese classics. It breaks the gap between "publishing production" and "publishing consumption", Paving the way for dissemination—further, in the publication of Chinese classics and the exploration of foreign dissemination paths, we can actively seek some foreign individuals and institutions with attainments in traditional Chinese culture, and use the "unity" of the Internet context to eliminate "Differences" between Chinese and foreign cultures.
===Conclusion===
Chinese cultural classics are extensive and profound, as vast as stars, carrying the unique values and philosophical spirit of Chinese traditional culture, which has laid a solid foundation for the great rejuvenation of the Chinese nation. In the face of the situation of "big but not strong" in the field of cultural classics publication in China. In the new media era, it is necessary to clarify the development direction of "going out", with the purpose of enhancing the discourse power of Chinese culture, actively carry out product supply-side structural reform, and innovate marketing and promotion models , to develop a path that adapts to the publication and dissemination of Chinese classics. At the same time, we must grasp the core of "cross-cultural communication". At the same time, we should keep track of the pulse of foreign markets, respect the habits of foreign readers, adapt to the new media era, and enhance the value of Chinese classics in cultural communication.

===References===
*Bi Ran毕冉（2016( 4)）．中国文化典籍英译与对外传播之思考．出版广角, 45-47pp．
*Li Rongwei李伟荣（2016( 23)）．20 世纪以来中国典籍出版走出去的回顾与思考．中国出版, 70-73pp．
*Sun Jian孙坚（2017( 9)）．“互联网+”时代中国文化典籍出版与对外传播．出版发行研, 93-95pp．
*Xu Duo, Xu Jun许多，许钧（2015( 3)）．中华文化典籍的对外译介与传播———关于《大中华文库》的评价与思考．外语教学理论与实践, 13-17，94pp．
*Yang Rongguang杨荣广（2015( 14)）．我国典籍的对外翻译出版与传播———以《宋明平话选》为例．出版广角, 114-116pp．

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.

In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.
===Key words===
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation
===Introduction===
1.A Brief Introducation to William Somerset Maugham

William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.

As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on.

Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.

In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.

2.A Brief Introduction to The Moon and Sixpence

The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.

The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”

The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.

3.A Brief Introduction to the Translater and Translating Verisons

The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm.

Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.

Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.

===Literature Review===
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.

Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.

Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.

The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.

===Methods and Theories===
1.The Translator's Role in Traditional Translation Studies

From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.

The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.

1.The Translator’s subjectivity

Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)

2. Factors of Affecting Translator's Subjectivity

Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.

The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。

===Subtitle 1 Analysis on Translating Cases ===
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.

1.Translator's Subjectivity in Semantic Comprehension and Interpretation

In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:

（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)

傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）

陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）

李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）

In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.

Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.

Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.

2. Translation Strategies in the Choice of Translator’s Subjectivity

中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。

Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.

(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）

In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.

Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.

(3)He followed me, and entered the apartment on my heels.(P98)

傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)

陈译：他尾随我进入公寓。（P180）

李译：他跟在我身后，紧贴着我走进了房间。（P179）

The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.

Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.

3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance

Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.

(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)

傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)

陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)

李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)

According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."

The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.

Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.

4. Translator's Subjectivity in Language Style

As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:

(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)

傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）

陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）

李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）

This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.

===Conclusion===
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.

This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.

In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.

To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.
===References===
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp.
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center>

<center>Li Yuan</center>

===Abstract===

''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.

===Key words===

''The Art of War''; the science of communication; English translation; reception; inspiration

===Introduction===

''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).

Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).

Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.

===Literature Review===

By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).

Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).

The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.

===Communication Theory--Lasswell's "5W Model"===

The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:
Convenient way to describe an act of communication is to answer the following questions:
Who
Says What
In Which Channel
To Whom
With What Effect?
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).

This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation
process from the perspective of communication science.

===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===

The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.

First Phase: 1905 to the 1930s

The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).

Second Phase: the 1940s to the 1980s

One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.

Third phase: the 1990s to present

After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.

===Insights from Reception of English Translations of ''The Art of War'' in the West from the Perspective of Communication===

From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers.

Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.

===Conclusion===

''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.

===References===

*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.

*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.

*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.

*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.

*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.

*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

In 2015, the English translation of The Three Body Problem won the Hugo Award for Best Long Story Award. That marks the first time that a Chinese local science fiction novel has entered the international world and is recognized by the international community. It is a model for Chinese culture to go global. The book contains a lot of Chinese words, as well as sexist content. That can not only cause reading difficulties for foreign readers but also arouse the resistance of foreign readers who attach importance to gender equality. Therefore, the two translators, Ken Liu and Joel Martinsen, consciously added the necessary background information, and deleted and rewritten the content of discrimination against women, showing the subjectivity of the translators. Therefore, the popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation.

This paper briefly introduces the background information of the two translators, reviews the development of feminist translation theory, and studies the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory. From the case analysis, the author finds out that the two translators adopted strategies including footnotes, de-gendering, supplementation and hijacking to produce high-quality translations and explores the gender consciousness and the subjectivity of the translators reflected in the translation.

===Key words===

Feminist Translation Theory; ''The Three Body Problem''; translation strategies; the subjectivity of the translators

===Introduction===
The Three Body Problem is a long sci-fi novel written by Liu Cixin, a Chinese sci-fi author. In 2015, the English translation of the first book in the trilogy won the Hugo Award for Best Long Story Award given by the World Science Fiction Association at the 73rd World Science Fiction Conference in Spokane, Washington. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. The translator of the first book and the third book "Death's End" is Ken Liu, who is Chinese American. He is both a science fiction writer and a novel translator. The translator of the second book, The Dark Forest, is Joel Martinsen, an American translator who is a native English speaker. The popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation. Since its publication, "The Three Body Problem" has received much discussion in China due to its sexist sequences. How did it gain wide circulation and popularity in the Western countries that value gender equality? This paper will study the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory and explore the gender consciousness and the subjectivity of the translators reflected in the translation.

===Literature Review===

The 21st century is an era where there are various modes of translation research, and Western countries have gained fruitful achievements in the study of translation theory. With the flourishing of feminism, translation research has undergone a major change, namely the "cultural turn" in the 1980s. In the 16th century, feminist thoughts emerged in England and France, which were leading the way in economic and social development. Feminist movements were carried out in society. In the second half of the 19th century and again in the 1950s, the feminist movement reached its peak. Feminist translation is one of the manifestations of the feminist movement in terms of discourse. Feminists pursued gender equality in literature and translation, creating a world of literature and translation that gave a voice to women. Subsequently, feminist translation theory first appeared on the historical stage. Sherry Simon, from a constructivist perspective, attempts to foreground the role of gender in translation, arguing that translation work simultaneously provokes and confuses the links between self and group, identity and alienation (Simon, 1996. 158). Simone De Beauvoir also argues that men and women explicitly affirm their brotherhood through their innate differences (De Beauvoir,1956:687).
Feminist translators believe that women have the same status as men and that translators have the same status as authors. They advocate translator subjectivity, and take gender factors as an important part of it. They believe that feminist translators can revise and rewrite the content of the original work that is not in line with feminism and discriminates against women. Luise Von Flotow, Canadian literary translator and translation theorist, published Translation and Gender: Translating in the “Era of Feminism” in 2004. This landmark work in feminist translation studies explains the relationship between translation and gender in terms of theory and practice, and explores three translation strategies commonly used by feminist translators, namely, prefaces and footnotes, supplements, and "hijacking."（Flotow, 2004:157）。
It is the tireless efforts of feminist translation researchers that have led to a major breakthrough in the field of translation studies. It has had a tremendous impact on people's traditional thinking, providing a new interpretation of translation studies and overturning the traditional translation principle of "fidelity". In short, feminist translation theory has continued to develop. People have begun to abandon traditional translation theories and strategies in order to completely eliminate discrimination against women and achieve gender equality.

The domestic translation circle started late in the study of feminist translation theory. In 1999, Mu Lei, a renowned female translator, first noticed that gender problem was an important factor in translation, in her writing Heartstrings—the Interview with Jin Shenghua published in Chinese Translation Journal (Mu 1999). In his book Explorations in Contemporary Western Translation Theory, Liao Qiyi first explored the influence of feminism on translation (Liao 2000). And in Re-write the myths: Feminism and translation studies, he tries to reveal the role played by the feminist critical paradigm in translation studies by analyzing examples (Liao 2002). Ge Xiaoqin, in her article "The Essence of Feminist Translation", summarizes the essence of feminist translation and its contribution to translation studies and cultural criticism and points out the epistemology, practice and methodology brought by feminist translation, by discussing the ideological origins of feminist translation(Ge 2003). It can be seen that the period between 1999 and 2003 was the initial stage of feminist translation theory. There was no more in-depth and comprehensive research yet. In 2004, Shanghai Foreign Language Education Press began to introduce Flotow's masterpiece, Translation and Gender-Translating in the ‘Era of Feminism’, marking a dramatic change in translation studies. Thus, the year 2004 became a watershed year between the first and second phases, shaping the characteristics of feminist translation theory. It is necessary to mention the following masterpieces: In "The Origin, Development and Present Condition of Feminist Translation Theory in Canada," Liu Yaru examines the origin, development and present condition of Canadian feminist translation theory (Liu 2005)。In A Tentative Study on Women Translators’ Rewriting from the Perspective of Feminism—A Case Study of Two Chinese Translations of The Color Purple, Lü traces the gender metaphors in Western feminist translations from the perspective of cultural studies (Lü 2006). In 2004, the fourth issue of Chinese Translation Journal launched a column on "Feminist Translation Research", which included five representative papers. Since then, domestic research on feminist translation has been developing continuously. The number of articles on feminist translation theory has gradually increased. Articles introducing and discussing it from different perspectives enrich and develop feminist translation theory, and at the same time encourage more translation researchers to pay attention to the practical research of feminist translation theory and to use the theory to evaluate works, especially female translation works.

===Methods and Theories===
Feminist theory has brought to translation research not only a gender-conscious perspective, but a new mode of thinking and a different research direction. In addition to vigorously advocating women's voices and challenging the traditional conceptions of translation in the field, feminists also strive to motivate translators to take the initiative in the translation process and propose a female discourse based on gender identity. Many feminist scholars and translators have attempted to redefine the delicate relationship between the original text and the target text by completely overturning the traditional mainstream conceptions of translation theory. In terms of theoretical research and translation practice, Chamberlain(1992) explains that the central concept of feminist translation theory is the deconstruction of the original text in the language and the elimination of gender discrimination. Therefore, it is necessary to strike a balance between translation and target text to reveal the essence of feminine consciousness. Therefore, it is necessary to strike a balance between translation and the target text to reveal the essence of feminine consciousness. In China, a group of scholars led by Mu Lei categorized the main principles of Western feminist translation scholars into four major categories: gender and translation, deconstructing "fidelity," emphasizing the importance of the translator's subjectivity, and rewriting in the name of feminine consciousness.

In feminist translation practice, the subjectivity of translators is reflected not only in the choice of texts but also in the choice of translation strategies. Feminist translators firmly believe that translation is a political act, which provides them with ideological support for manipulating and interfering with the original text. Therefore, translation strategies are important for them to achieve their purposes, which can be mainly summarized as follows:

Prefaces and footnotes

Prefaces and footnotes in translations are the most common means by which translators put feminist translation theory into practice. Footnotes, usually located at the bottom of each page of the translation, offer some explanation of the translation so that the reader can better understand certain details of the translation. A preface, usually added before the whole translation, is used to briefly describe the whole translation project, recount the general idea of the original text, and describe some special methods used by the translator in the translation process. In terms of the purpose of feminist translation, adding a footnote and adding a preface have something in common. They both aim to reflect the translator's thoughts on feminism, promote the core values of feminism, criticize the patriarchy's unequal behavior toward women, and fight for more rights for women in general. Therefore, even if there is macho bullying of women in the original text, the translator does not hesitate to point it out and criticize it. In the implementation of these two approaches, the preface embodies the promotion of feminism as a whole, while the footnotes will show the deeper connotation of feminism in certain details.

De-gendering

De-gendering, or the "manipulation" of specific sexist expressions embedded in the original text (Han, 2007). This is a strategy often used by many feminist translators to make the image or voice of women visible. Because gender is an important component of feminism, feminist translators emphasize gender-conscious words, phrases, and sentences in their translations of the original text. De-gendering means replacing words such as "he" and "his" with "she" and "her" and phrases such as "man in office and power" with "man in office and power" in an attempt to avoid or reduce male discourse and introduce female words into the translation to highlight female subjectivity. In feminist translation, "man" or "he" is not the only word that refers to all people in general.

Supplementation

Adding to the target text in one certain part of the text is also an important method of feminist translation theory. In fact, this method is not unique to feminist translation, but is also common in many traditional translation practices. In order to eliminate the differences between two cultures, translators can make appropriate additions to better transform the original text into a translation, thus satisfying the reading habits and cultural needs of the target language readers.

Hijacking

If supplementation is a more moderate approach in feminist translation, hijacking is a very radical approach. Supplementation means that even though the supplemented content embodies the feminist character, translators still make appropriate and reasonable additions based on the semantics of the original. "Hijacking" is a feminist translation strategy proposed by Flotow. (Flotow.1991(2):69-84) "Hijacking" refers to the manipulation of a text by a female translator without changing the specific message of the original text in an attempt to gain new meaning. Feminist translators rewrite the text according to their own preferences and subjective intentions. They modify many masculine words, such as "woman and man" and "her or his". In order to highlight the position of women in the text and make their voices heard. Feminist translators have rewritten the language in a feminist way. This approach can be used to reduce or eliminate the sexism revealed in the original text by changing the vocabulary of the original text or even partially abridging the translation. The use of hijacking in translation projects has been the subject of much controversy. Opponents argue that it has deviated significantly from the original work and is inconsistent with the translation project itself, as well as with the author herself. Feminist translators argue that "hijacking" is not only a necessary translation method in translation projects, but also an important means for translators to reshape and recreate the original work.

===Brief Introduction of The Three Body Problem===
The Three Body series written by Liu Cixin consists of three parts, The Three Body Problem, The Dark Forest, and Death's End. It was published by Science Fiction World from 2006 to 2010. Based on the three-body problem, an intractable mystery in the field of physics, the series depicts from a macro perspective a vast universe where numerous civilizations exist, each vastly different from the other, yet facing similar survival choices. The author explores human nature in depth from the perspective of science fiction. With its grand layout and sublime meaning, the book has been hailed as the most outstanding science fiction novel in modern Chinese history. It was a turning point in the development of Chinese science fiction. The English translation of the novel was nominated for the 2014 Nebula Award of the Science Fiction and Fantasy Writers of America, and later won the 2015 Hugo Award for Best Long Story Award. This is the first time for an Asian to appear on the list of winners of the Hugo Awards. This is also an important step for Chinese science fiction to go global. It is considered a milestone for Chinese science fiction. In addition to the English translation, it has also been translated into nine languages, including Korean, Turkish, French, Spanish, German, Hungarian, and Vietnamese, showing the overseas influence of the book.

===Brief Introduction of the author and the translators===
Liu Cixin is a Chinese science fiction writer born in 1963. From 1999 to 2006, he won the Galaxy Award, China's most prestigious literary and scientific fiction award. And in 2015, he received the Hugo Award, becoming the first Asian writer to win this award. His representative works include the short story "Wandering Earth".

Ken Liu is a Chinese-American science fiction writer and translator, dedicated to writing science fiction and translating Chinese science fiction and literary stories. His first award-winning book, The Paper Menagerie, won the international awards including Nebula and Hugo Awards for literary works. He is responsible for the translation of the first and third books of The Three Body Series. The first English translation won the 2015 Hugo Award for Best Novel, and the third was shortlisted for the 2017 Hugo Award for Best Long Novel. He grew up in America, and was influenced and nurtured by gender equality, equality for all, and the gender equality movement from an early age. At the same time, Ken Liu's parents are Chinese and grew up in China. Therefore he was also influenced by Chinese culture from an early age. That enabled him to have a cultural and linguistic advantage in translating "The Three Body Problem".

Joel Martinsen is an American translator. He has focused on Chinese language and literature since he was provided with Chinese courses in high school. He had a Master degree in the Modern Chinese Literature at Beijing Normal University. As the translator of the second volume of The Three-Body, Martinsen is qualified enough for his academic background as well as high Chinese language proficiency.

===A Case Study on the English Translation of The Three-Body Problem under Feminist Translation Theory===

Reading through The Three Body Problem, it is easy to see that the entire work has a negative assessment of the female community, and discriminatory content against women is commonplace. Western society has always attached much importance to gender equality, at least to maintain political correctness. In order to make the work acceptable to readers in Western countries, optimize the reading experience and reduce their resistance, the translator's role is crucial. Ken Liu and Joel Martinsen have undoubtedly put in a lot of effort to make The Three Body Problem win many awards in the World Science Fiction Literary Awards and gain the praise of many readers. In this section, a case study of the English translation of The Three Bodies will be presented from feminist translation theory.

De-gendering

Feminist translation emphasizes the subjectivity of the translator and proposes a "gender-neutral" concept of translation, aiming at eliminating gender discrimination in language and establishing a gender-equal language.

Example 1: 对于普通的女性，也许时间能够渐渐愈合这些创伤，毕竟，“文革“中有她这样遭遇的女性太多了，比起她们中的很多人，她算是幸运的。但叶文洁是一位科学女性。

Translation: For most people, perhaps time would have gradually healed these wounds. After all, during the Cultural Revolution, many people suffered fates similar to hers, and compared to many of them, Ye was relatively fortunate. But Ye had the mental habits of a scientist.

Analysis: In The Three Body Problem, female characters are always more negative than male characters. Female characters are always considered lucky rather than capable after they succeed in making something. The translator has a high degree of gender consciousness. The translator replaces the words “普通女性”,“女性”,“科学女性” with "people" and "scientist" in this sentence, so as to prevent gender discrimination and to reflect gender awareness.

Example 2: 那是最不可能令孩子，特别是女孩子入迷的音乐了
Translation: That was the kind of music that shouldn’t have mesmerized a kid.

Analysis: The original text implies that girls are less able to understand Bach's music than boys. In order to avoid gender discrimination by associating women with a particular trait, the translator changed the word "女孩子" to "kid" in the translation. The translator cannot recreate the characterization, but can de-genderize the language when dealing with sexist language.

Example 3: 菲律宾贡献给世界的第三个美女政治家，也是在这个职位上危机前后跨越两个时代的一位。
Translation: The administration of this Filipino politician had straddled the pre- and post-crisis eras.
分析：Ms. Sae was the first female Secretary-General of the United Nations, with distinguished achievements in international negotiation and handling of international disputes. Ms. Sae's achievements are not related to her appearance, and if the adjective "beautiful" is used in the translation, it may lead to speculation and dissatisfaction among readers. The tone of the original text shows that women are not competent enough to take on important political roles or to lead the wars of the universe. This is a rigid perception and stereotype of women in society.

Hijacking
Feminist translators will downplay or remove strongly feminized depictions. Under a patriarchal society, women are seen as objects of appreciation. The male-centric consciousness is shown by patriarchal language that excessively focuses on the depiction of women's appearance, bodies, etc. It reflects prejudice against women, ignores their inner character and stifles their autonomous identity. For this reason, feminist translators actively exert the subjectivity of the translators, trying to break the center of male discourse and re-establish a positive and positive image of women.

Example 4: 美丽女孩双手托起晶亮的金属球，让人联想到身材苗条的艺术体操运动员，她露出那动人的笑，用悦耳的声音说。

Translation: The young woman raised the bright metal sphere before with both hands, as though she were getting ready to start a gymnastics routine. Smiling, she said…

Analysis: In the above example, there are some words and expressions of female description. In the ancient traditional gender ethics, women were always regarded as subordinate and subservient to men under the domination of a male-dominated society. But this traditional view has been severely criticized by modern feminists, who desire linguistic equality. In view of this, the translator has consciously cut down and modified the descriptions of feminine features. In particular, in the original text, descriptions such as "beautiful woman", "slim figure", and "sweet smile and voice" are absent from the translation, which to a certain extent weaken the sense of gender discrimination.

Example 5: 她像个小泼妇一样一天与那六个女人打好几次架
Translation: She fought the other women, sometimes several times a day.

Analysis：The word "泼妇" is a derogatory term used to describe women who is rude and unreasonable. Here, the translator has left this sexist word out of the translation. And the translation maintains a positive image of women.

Footnote

Example 6:“你怎么又会有这种想法？那可并不一定，这是乱纪元。”追随者说着转向周文王，“姬昌，给我些鱼干吃吧。”
“不行！”周文王断然说道，“我也是勉强吃饱的，要保证我能走到朝歌，而不是你。”

Translation: "What makes you think that? There’s no way to be certain. I told you, this is a Chaotic Era.” Follower turned to King Wen. “May I have some dried fish?”
“Absolutely not,” King Wen’s tone brooked no disagreement, “I barely have enough for myself. We must guarantee that I make it to Zhao Ge, not you.

Translator’s note: Zhao Ge was the capital of Shang China, where King Zhou held court.

Analysis: The Three Body Problem is a science fiction novel in which the main character, Wang Miao, enters the physical world with the help of equipment and explores the game scenes himself. The reader does not know that the history of Warring States Period and the destination is "朝歌". Considering the lack of background information in the novel, the translator adds information to the text.

Example 7: 后来的事实证明她这次赌博是正确的，“文革”还没有结束，她的丈夫已经部分恢复了职位，十一届三中全会后，他迅速升到了副部级。

Translation: Her gamble paid off. Even before the end of the Cultural Revolution, her husband was partially restored to his old position. After the Third Plenary Session of the Eleventh CPC Central Committee, he was soon promoted to the level of a deputy minister.

Translator’s note: This meeting marked the beginning of the “Reform and Opening-up” policy and was seen as the moment when Deng Xiaoping became the leader of China.

Analysis: In the Chinese history, the Third Plenary Session of the Eleventh Central Committee of the Party is considered to be a turning point for China. Since the reform and opening up, Deng Xiaoping delivered an important speech at the Great Hall of the People, proposing a rapid shift in the focus of China's work to economic development and construction. More importantly, the conference played an important role in promoting social order and improving people's living standards. Foreign readers may have difficulty understanding this terminology. Therefore, additional information seems to be necessary.

Supplement

Cultural differences between the two languages determine the untranslatability of the literature. Therefore, the compensation of background knowledge and information is essential in the translation process. Supplement tries to achieve the same purpose as the preface and footnotes in a different way.

Example 10: “红色联合“的指挥官心急如焚，他并不惧怕大楼的守卫者，那二百多名“四.二八”战士，与诞生于1966年初、经历过大检阅和大串联的“红色联合”相比要稚嫩许多。

Translation: The Red Union commander was anxious, though not because of the defenders he faced. The more than two hundred Red Guards of the April Twenty-eight Brigade were mere greenhorns compared with the veteran Red Guards of the Red Union, which was formed at the start of the Great Proletarian Cultural Revolution in early 1966. The Red Union had been tempered by the tumultuous experience of revolutionary tours around the country and seeing Chairman Mao in the great rallies in Tiananmen Square.

Analysis: The story takes place during the Cultural Revolution, and the Red Union is a political product of that period. It is difficult for foreign readers to understand this term with Chinese characteristics. Therefore, the translator intentionally adds more background knowledge and information to cope with the cultural default, even though there is no additional explanation of the Red Society in the original text.

===Conclusion===
Inspired by feminist translation theories, translation scholarship is increasingly enriched with insights on gender consciousness reflected in the translation process. It is undeniable that feminist translation theory has made great contributions to promoting gender equality and empowering women under a male-centered social system. This paper analyzes some examples of the English translation of The Three Body Problem from the feminist translation theory. Through the above analysis, it is found that the translators Ken Liu and Joel Martinsen show a strong feminist consciousness in the translation process, using feminist translation strategies such as de-gendering, footnoting, supplementing and hijacking to avoid the contents that discriminate and dwarf females in the original work, effectively translate the Chinese characteristic vocabulary and produce high-quality translations.

===References===

*Chamberlain, L(1992). Gender and the Metaphorics of Translation. Lawrence Venuti (ed.). Rethinking Translation: Discourse, Subjectivity, Ideology. London&New York: Routledge.

*De Beauvoir, Simone(1956). The Second Sex[M]. London: Jonathan Cape,687

*Flotow, L. Feminist translation: Contexts, practices and theories.TTR. traduction terminologie, redaction, 4(2), 69-84.

*Flotow, L(2004). Translation and Gender: Translating in the “Era of Feminism”[M]. Shanghai: Shanghai Foreign Language Education Press.

*Ge Xiaoqin葛校琴(2003).女性主义翻译之本质[J].外国研究(6).

*Han Yunxia韩云霞(2007).从女性主义翻译研究角度看杨必《名利场》译本中译者女性身影的显现.山东大学.

*Lǚ Xiaofei吕晓菲(2006). 女性主义视角下女性译者的重写——兼评《紫颜色》两个中文译本[D].广东外语外贸大学.

*Liao Qiyi廖七一(2000).当代西方翻译理论探索[M].南京:译林出版社.

*Liao Qiyi廖七一(2002).重写神话：女性主义与翻译研究[J].四川外国语学院学报.(2)106-109

*Liu Yaru刘亚儒(2005).加拿大女性主义翻译理论的起源、发展和现状[J].天津外国语学院学报, (02):11-16.

*Mu Lei穆雷(2008).翻译研究中的性别视角[M]. 武昌:武汉大学出版社.

*Mu Lei穆雷(1999).心弦——女翻译家金圣华教授访谈录[J].中国翻译(2).

*Simon, Sherry(1996). Gender in Translation: Cultural Identity and the Politics of Transmission[M]. London&New York: Routledge, 158

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

20220630 Classics 2

2022-07-04T14:09:14Z

Liao Shiyun: /* Key words */

Back to course homepage: [[Chinese Classics Translation 2022]], back to final exam paper overview: [[20220630_Classics]]

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Classics_save]]

==This is the final exam paper website no. 1==

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103.
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

===References===
*Hall E T .(1976).Beyond Culture. chicago.

*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.

*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123.

*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.

*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh

*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.

*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.

*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.

*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28.

*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.

*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.

In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.
===Key words===
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation
===Introduction===
1.A Brief Introducation to William Somerset Maugham

William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.

As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on.

Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.

In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.

2.A Brief Introduction to The Moon and Sixpence

The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.

The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”

The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.

3.A Brief Introduction to the Translater and Translating Verisons

The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm.

Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.

Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.

===Literature Review===
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.

Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.

Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.

The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.

===Methods and Theories===
1.The Translator's Role in Traditional Translation Studies

From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.

The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.

1.The Translator’s subjectivity

Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)

2. Factors of Affecting Translator's Subjectivity

Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.

The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。

===Subtitle 1 Analysis on Translating Cases ===
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.

1.Translator's Subjectivity in Semantic Comprehension and Interpretation

In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:

（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)

傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）

陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）

李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）

In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.

Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.

Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.

2. Translation Strategies in the Choice of Translator’s Subjectivity

中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。

Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.

(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）

In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.

Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.

(3)He followed me, and entered the apartment on my heels.(P98)

傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)

陈译：他尾随我进入公寓。（P180）

李译：他跟在我身后，紧贴着我走进了房间。（P179）

The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.

Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.

3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance

Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.

(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)

傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)

陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)

李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)

According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."

The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.

Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.

4. Translator's Subjectivity in Language Style

As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:

(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)

傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）

陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）

李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）

This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.

===Conclusion===
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.

This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.

In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.

To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.
===References===
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp.
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center>

<center>Li Yuan</center>

===Abstract===

''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.

===Key words===

''The Art of War''; the science of communication; English translation; reception; inspiration

===Introduction===

''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).

Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).

Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.

===Literature Review===

By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).

Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).

The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.

===Communication Theory--Lasswell's "5W Model"===

The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:
Convenient way to describe an act of communication is to answer the following questions:
Who
Says What
In Which Channel
To Whom
With What Effect?
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).

This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation
process from the perspective of communication science.

===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===

The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.

First Phase: 1905 to the 1930s

The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).

Second Phase: the 1940s to the 1980s

One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.

Third phase: the 1990s to present

After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.

===Insights from Reception of English Translations of ''The Art of War'' in the West from the Perspective of Communication===

From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers.

Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.

===Conclusion===

''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.

===References===

*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.

*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.

*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.

*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.

*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.

*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

In 2015, the English translation of The Three Body Problem won the Hugo Award for Best Long Story Award. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. It is a model for Chinese culture to go global. The book contains a lot of Chinese words, as well as sexist contents. That can not only cause reading difficulties for foreign readers, but also arouse the resistance of foreign readers who attach importance to gender equality. Therefore, the two translators, Ken Liu and Joel Martinsen, consciously added the necessary background information, and deleted and rewritten the content of discrimination against women, showing the subjectivity of the translators. Therefore, the popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation.

This paper briefly introduces the backghround information of the two translators, reviews the development of feminist translation thoery, and studies the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory. From the case analysis, the author finds out that the two translators adoped stategies including foodnotes, de-gendering, supplement and hijacking to produce high-quality translation and explores the gender consciousness and the subjectivity of the translators reflected in the translation.

===Key words===

Feminist Translation Theory; ''The Three Body Problem''; translation strategies; the subjectivity of the translators

===Introduction===
The Three Body Problem is a long sci-fi novel written by Liu Cixin, Chinese sci-fi author. In 2015, the English translation of the first book in the trilogy won the Hugo Award for Best Long Story Award given by the World Science Fiction Association at the 73rd World Science Fiction Conference in Spokane, Washington. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. The translator of the first book and the third book "Death's End" is Ken Liu, who is Chinese American. He is both a science fiction writer and a novel translator. The translator of the second book, The Dark Forest, is Joel Martinsen, an American translator who is a native English speaker. The popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation. Since its publication, "The Three Body Problem" has received much discussion in China due to its sexist sequences. How did it gain wide circulation and popularity in the Western countries that value gender equality? This paper will study the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory, and explore the gender consciousness and the subjectivity of the translators reflected in the translation.

===Literature Review===

The 21st century is an era where there are various modes of translation research, and Western countries has gained fruitful achievements in the study of translation theory. With the flourishing of feminism, translation research has undergone a major change, namely the "cultural turn" in the 1980s. In the 16th century, feminist thoughts emerged in England and France, which were leading the way in economic and social development. Feminist movements were carried out in society. In the second half of the 19th century and again in the 1950s, the feminist movement reached its peak. Feminist translation is one of the manifestations of the feminist movement in terms of discourse. Feminists pursued gender equality in literature and translation, creating a world of literature and translation that gave a voice to women. Subsequently, feminist translation theory first appeared on the historical stage. Sherry Simon, from a constructivist perspective, attempts to foreground the role of gender in translation, arguing that translation work simultaneously provokes and confuses the links between self and group, identity and alienation (Simon, 1996. 158). Simone De Beauvoir also argues that men and women explicitly affirm their brotherhood through their innate differences (De Beauvoir,1956:687).
Feminist translators believe that women have the same status as men and that translators have the same status as authors. They advocate translator subjectivity, and take gender factors as an important part of it. They believe that feminist translators can revise and rewrite the content of the original work that is not in line with feminism and discriminates against women. Luise Von Flotow, Canadian literary translator and translation theorist, published Translation and Gender:Translating in the “Era of Feminism” in 2004. This landmark work in feminist translation studies explains the relationship between translation and gender in terms of theory and practice, and explores three translation strategies commonly used by feminist translators, namely, prefaces and footnotes, supplements, and "hijacking."（Flotow, 2004:157）。
It is the tireless efforts of feminist translation researchers that have led to a major breakthrough in the field of translation studies. It has had a tremendous impact on people's traditional thinking, providing a new interpretation of translation studies and overturning the traditional translation principle of "fidelity". In short, feminist translation theory has continued to develop. People have begun to abandon traditional translation theories and strategies in order to completely eliminate discrimination against women and achieve gender equality.

The domestic translation circle started late in the study of feminist translation theory. In 1999, Mu Lei, a renowned female translator, first noticed that gender problem was an important factor in translation, in her writing Heartstrings—the Interview with Jin Shenghua published in Chinese Translation Journal (Mu 1999). In his book Explorations in Contemporary Western Translation Theory, Liao Qiyi first explored the influence of feminism on translation (Liao 2000). And in Re-write the myths: Feminism and translation studies, he tries to reveal the role played by the feminist critical paradigm in translation studies by analyzing examples (Liao 2002). Ge Xiaoqin, in her article "The Essence of Feminist Translation", summarizes the essence of feminist translation and its contribution to translation studies and cultural criticism and points out the epistemology, practice and methodology brought by feminist translation, by discussing the ideological origins of feminist translation(Ge 2003). It can be seen that the period between 1999 and 2003 was the initial stage of feminist translation theory. There was no more in-depth and comprehensive research yet. In 2004, Shanghai Foreign Language Education Press began to introduce Flotow's masterpiece, Translation and Gender-Translating in the ‘Era of Feminism’，marking a dramatic change in translation studies. Thus, the year of 2004 became a watershed year between the first and second phases, shaping the characteristics of feminist translation theory. It is necessary to mention the following masterpieces: In "The Origin, Development and Present Condition of Feminist Translation Theory in Canada," Liu Yaru examines the origin, development and present condition of Canadian feminist translation theory (Liu 2005)。In A Tentative Study on Women Translators’ Rewriting from the Perspective of Feminism—A Case Study of Two Chinese Translations of The Color Purple , Lü traces the gender metaphors in Western feminist translations from the perspective of cultural studies (Lü 2006). In 2004, the fourth issue of Chinese Translation Journal launched a column on "Feminist Translation Research", which included five representative papers. Since then, domestic research on feminist translation has been developing continuously. The number of articles on feminist translation theory has gradually increased. Articles introducing and discussing it from different perspectives enriches and develops feminist translation theory, and at the same time encourages more translation researchers to pay attention to the practical research of feminist translation theory and to use the theory to evaluate works, especially female translation works.

===Methods and Theories===
Feminist theory has brought to translation research not only a gender-conscious perspective, but a new mode of thinking and a different research direction. In addition to vigorously advocating women's voices and challenging the traditional conceptions of translation in the field, feminists also strive to motivate translators to take the initiative in the translation process and propose a female discourse based on gender identity. Many feminist scholars and translators have attempted to redefine the delicate relationship between the original text and the target text by completely overturning the traditional mainstream conceptions of translation theory. In terms of theoretical research and translation practice, Chamberlain(1992) explains that the central concept of feminist translation theory is the deconstruction of the original text in language and the elimination of gender discrimination. Therefore, it is necessary to strike a balance between translation and target text to reveal the essence of feminine consciousness. Therefore, it is necessary to strike a balance between translation and the target text to reveal the essence of feminine consciousness. In China, a group of scholars led by Mu Lei categorized the main principles of Western feminist translation scholars into four major categories: gender and translation, deconstructing "fidelity," emphasizing the importance of the translator's subjectivity, and rewriting in the name of feminine consciousness.

In feminist translation practice, the subjectivity of translators is reflected not only in the choice of texts, but also in the choice of translation strategies. Feminist translators firmly believe that translation is a political act, which provides them with ideological support for manipulating and interfering with the original text. Therefore, translation strategies are important for them to achieve their purposes, which can be mainly summarized as follows:

Prefaces and foodnotes

Prefaces and footnotes in translations is the most common means by which translators put feminist translation theory into practice. Footnotes, usually located at the bottom of each page of the translation, offer some explaination of the translation so that the reader can better understand certain details of the translation. A preface, usually added before the whole translation, is used to briefly describe the whole translation project, recount the general idea of the original text, and describe some special methods used by the translator in the translation process. In terms of the purpose of feminist translation, adding a footnote and adding a preface have something in common. They both aim to reflect the translator's thoughts on feminism, to promote the core values of feminism, to criticize the patriarchy's unequal behavior toward women, and to fight for more rights for women in general. Therefore, even if there is macho bullying of women in the original text, the translator does not hesitate to point it out and criticize it. In the implementation of these two approaches, the preface embodies the promotion of feminism as a whole, while the footnotes will show the deeper connotation of feminism in certain details.

De-gendering

De-gendering, or the "manipulation" of specific sexist expressions embedded in the original text (Han, 2007). This is a strategy often used by many feminist translators to make the image or voice of women visible. Because gender is an important component of feminism, feminist translators emphasize gender-conscious words, phrases, and sentences in their translations of the original text. De-gendering means replacing words such as "he" and "his" with "she" and "her" and phrases such as "man in office and power" with "man in office and power" in an attempt to avoid or reduce male discourse and introduce female words into the translation to highlight female subjectivity. In feminist translation, "man" or "he" is not the only word that refers to all people in general.

Supplementation

Adding to the target text in one certain part of the text is also an important method of feminist translation theory. In fact, this method is not unique to feminist translation, but is also common in many traditional translation practices. In order to eliminate the differences between two cultures, translators can make appropriate additions to better transform the original text into a translation, thus satisfying the reading habits and cultural needs of the target language readers.

Hijacking

If supplementation is a more moderate approach in feminist translation, hijacking is a very radical approach. Supplementation means that even though the supplemented content embodies the feminist character, translators still make appropriate and reasonable additions based on the semantics of the original. "Hijacking" is a feminist translation strategy proposed by Flotow. (Flotow.1991(2):69-84) "Hijacking" refers to the manipulation of a text by a female translator without changing the specific message of the original text in an attempt to gain new meaning. Feminist translators rewrite the text according to their own preferences and subjective intentions. They modify many masculine words, such as "woman and man" and "her or his". In order to highlight the position of women in the text and make their voices heard. Feminist translators have rewritten the language in a feminist way. This approach can be used to reduce or eliminate the sexism revealed in the original text by changing the vocabulary of the original text or even partially abridging the translation. The use of hijacking in translation projects has been the subject of much controversy. Opponents argue that it has deviated significantly from the original work and is inconsistent with the translation project itself, as well as with the author herself. Feminist translators argue that "hijacking" is not only a necessary translation method in translation projects, but also an important means for translators to reshape and recreate the original work.

===Brief Introduction of The Three Body Problem===
The Three Body series written by Liu Cixin consists of three parts, The Three Body Problem, The Dark Forest, and Death's End. It was published by Science Fiction World from 2006 to 2010. Based on the three-body problem, an intractable mystery in the field of physics, the series depicts from a macro perspective a vast universe where numerous civilizations exist, each vastly different from the other, yet facing similar survival choices. The author explores human nature in depth from the perspective of science fiction. With its grand layout and sublime meaning, the book has been hailed as the most outstanding science fiction novel in modern Chinese history. It was a turning point in the development of Chinese science fiction. The English translation of the novel was nominated for the 2014 Nebula Award of the Science Fiction and Fantasy Writers of America, and later won the 2015 Hugo Award for Best Long Story Award. This is the first time for an Asian to appear on the list of winners of the Hugo Awards. This is also an important step for Chinese science fiction to go global. It is considered a milestone for Chinese science fiction. In addition to the English translation, it has also been translated into nine languages, including Korean, Turkish, French, Spanish, German, Hungarian, and Vietnamese, showing the overseas influence of the book.

===Brief Introduction of the author and the translators===
Liu Cixin is a Chinese science fiction writer born in 1963. From 1999 to 2006, he won the Galaxy Award, China's most prestigious literary and scientific fiction award. And in 2015, he received the Hugo Award, becoming the first Asian writer to win this award. His representative works include the short story "Wandering Earth".

Ken Liuis a Chinese-American science fiction writer and translator, dedicated to writing science fiction and translating Chinese science fiction and literary stories. His first award-winning book, The Paper Menagerie, won the international awards including Nebula and Hugo Awards for literary works. He is responsible for the translation of the first and third books of The Three Body Series. The first English translation won the 2015 Hugo Award for Best Novel, and the third was shortlisted for the 2017 Hugo Award for Best Long Novel. He grew up in America, and was influenced and nurtured by gender equality, equality for all, and the gender equality movement from an early age. At the same time, Ken Liu's parents are Chinese who grew up in China. Therefore he was also influenced by Chinese culture from an early age. That enabled him to have a cultural and linguistic advantage in translating "The Three Body Problem".

Joel Martinsen is an American translator. He has focused on Chinese language and literature since he was provided with Chinese courses in high school. He had a Master degree in the Modern Chinese Literature at Beijing Normal University. As the translator of the second volume of The Three-Body, Martinsen is qualified enough for his academic background as well as a high Chinese language proficiency.

===A Case Study on the English Translation of The Three-Body Problem under Feminist Translation Theory===

Reading through The Tree Body Problem, it is easy to see that the entire work has a negative assessment of the female community, and discriminatory content against women is commonplace. Western society has always attached much importance to gender equality, at least to maintain political correctness. In order to make the work acceptable to readers in Western countries, optimize the reading experience and reduce their resistance, the translator's role is crucial. Ken Liu and Joel Martinsen have undoubtedly put in a lot of efforts to make The Three Body Problem win many awards in the World Science Fiction Literary Awards and gain the praise of many readers. In this section, a case study of the English translation of The Three Bodies will be presented from feminist translation theory.

De-gendering

Feminist translation emphasizes the subjectivity of the translator and proposes a "gender-neutral" concept of translation, aiming at eliminating gender discrimination in language and establishing a gender-equal language.

Example 1: 对于普通的女性，也许时间能够渐渐愈合这些创伤，毕竟，“文革“中有她这样遭遇的女性太多了，比起她们中的很多人，她算是幸运的。但叶文洁是一位科学女性。

Translation: For most people, perhaps time would have gradually healed these wounds. After all, during the Cultural Revolution, many people suffered fates similar to hers, and compared to many of them, Ye was relatively fortunate. But Ye had the mental habits of a scientist.

Analysis: In The Three Body Problem, female characters are always more negative than male characters. Female characters are always considered lucky rather than capable after they succeed in making something. The translator has a high degree of gender consciousness. The translator replaces the words “普通女性”,“女性”,“科学女性” with "people" and "scientist" in this sentence, so as to prevent gender discrimination and to reflect gender awareness.

Example 2: 那是最不可能令孩子，特别是女孩子入迷的音乐了
Translation: That was the kind of music that shouldn’t have mesmerized a kid.

Analysis: The original text implies that girls are less able to understand Bach's music than boys. In order to avoid gender discrimination by associating women with a particular trait, the translator changed the word "女孩子" to "kid" in the translation. The translator cannot recreate the characterization, but can de-genderize the language when dealing with sexist language.

Example 3: 菲律宾贡献给世界的第三个美女政治家，也是在这个职位上危机前后跨越两个时代的一位。
Translation: The administration of this Filipino politician had straddled the pre- and post-crisis eras.
分析：Ms. Sae was the first female Secretary-General of the United Nations, with a distinguished achievement of international negotiation and handling of international disputes. Ms. Sae's achievements are not related to her appearance, and if the adjective "beautiful" is used in the translation, it may lead to speculation and dissatisfaction among readers. The tone of the original text shows that women are not competent enough to take on important political roles or to lead the wars of the universe. This is a rigid perception and stereotype of women in society.

Hijacking
Feminist translators will downplay or remove strongly feminized depictions. Under a patriarchal society, women are seen as objects of appreciation. The male-centric consciousness is showed from patriarchal language that excessively focus on the depiction of women's appearance, bodies, etc. It reflects a prejudice of women, ignores their inner character and stifles their autonomous identity. For this reason, feminist translators actively exert the subjectivity of the translators, trying to break the center of male discourse and re-establish a positive and positive image of women.

Example 4: 美丽女孩双手托起晶亮的金属球，让人联想到身材苗条的艺术体操运动员，她露出那动人的笑，用悦耳的声音说。

Translation: The young woman raised the bright metal sphere before with both hands, as though she were getting ready to start a gymnastics routine. Smiling, she said…

Analysis: In the above example, there are some words and expressions of female description. In the ancient traditional gender ethics, women were always regarded as subordinate and subservient to men under the domination of a male-dominated society. But this traditional view has been severely criticized by modern feminists, who desire linguistic equality. In view of this, the translator has consciously cut down and modified the descriptions of feminine features. In particular, in the original text, descriptions such as "beautiful woman", "slim figure", and "sweet smile and voice" are absent from the translation, which to a certain extent weaken the sense of gender discrimination.

Example 5: 她像个小泼妇一样一天与那六个女人打好几次架
Translation: She fought the other women, sometimes several times a day.

Analysis：The word "泼妇" is a derogatory term used to describe women who is rude and unreasonable. Here, the translator has left this sexist word out of the translation. And the translation maintains a positive image of women.

Foodnote

Example 6:“你怎么又会有这种想法？那可并不一定，这是乱纪元。”追随者说着转向周文王，“姬昌，给我些鱼干吃吧。”
“不行！”周文王断然说道，“我也是勉强吃饱的，要保证我能走到朝歌，而不是你。”

Translation:”What makes you think that? There’s no way to be certain. I told you, this is a Chaotic Era.” Follower turned to King Wen. “May I have some dried fish?”
“Absolutely not,” King Wen’s tone brooked no disagreement, “I barely have enough for myself. We must guarantee that I make it to Zhao Ge, not you.

Translator’s note: Zhao Ge was the capital of Shang China, where King Zhou held court.

Analysis: The Three Body Problem is a science fiction novel in which the main character, Wang Miao, enters the physical world with the help of equipment and explores the game scenes himself. The reader does not know that the history of Warring States Period and the destination is "朝歌". Considering the lack of background information in the novel, the translator adds information to the text.

Example 7: 后来的事实证明她这次赌博是正确的，“文革”还没有结束，她的丈夫已经部分恢复了职位，十一届三中全会后，他迅速升到了副部级。

Translation: Her gamble paid off. Even before the end of the Cultural Revolution, her husband ws partially restored to his old position. After the Third Plenary Session of the Eleventh CPC Central Committee, he was soon promoted to the level of a deputy minister.

Translator’s note: This meeting marked the beginning of the “Reform and Opening up” policy and was seen as the moment when Deng Xiaoping became the leader of China.

Analysis: In the Chinese history, the Third Plenary Session of the Eleventh Central Committee of the Party is considered to be a turning point for China. Since the reform and opening up, Deng Xiaoping delivered an important speech at the Great Hall of the People, proposing a rapid shift in the focus of China's work to economic development and construction. More importantly, the conference played an important role in promoting social order and improving people's living standards. Foreign readers may have difficulty understanding this terminology. Therefore, additional information seems to be necessary.

Supplement

Cultural differences between the two languages determine the untranslatability of the literature. Therefore, the compensation of background knowledge and information is essential in the translation process. Supplement tries to achieve the same purpose as the preface and footnotes in a different way.

Example 10: “红色联合“的指挥官心急如焚，他并不惧怕大楼的守卫者，那二百多名“四.二八”战士，与诞生于1966年初、经历过大检阅和大串联的“红色联合”相比要稚嫩许多。

Translation: The Red Union commander was anxious, though not because of the defenders he faced. The more than two hundred Red Guards of the April Twenty-eight Brigade were mere greenhorns compared with the veteran Red Guards of the Red Union, which was formed at the start of the Great Proletarian Cultural Revolution in early 1966. The Red Union had been tempered by the tumultuous experience of revolutionary tours around the country and seeing Chairman Mao in the great rallies in Tiananmen Square.

Analysis: The story takes place during the Cultural Revolution, and the Red Union is a political product of that period. It is difficult for foreign readers to understand this term with Chinese characteristics. Therefore, the translator intentionally adds more background knowledge and information to cope with the cultural default, even though there is no additional explanation of the Red Society in the original text.

===Conclusion===
Inspired by feminist translation theories, translation scholarship is increasingly enriched with insights on gender consciousness reflected in the translation process. It is undeniable that feminist translation theory has made great contributions to promoting gender equality and empowering women under a male-centered social system. This paper analyzes some examples of the English translation of The Three Body Problem from the feminist translation theory. Through the above analysis, it is found that the translators Ken Liu and Joel Martinsen show a strong feminist consciousness in the translation process, using feminist translation strategies such as de-gendering, footnoting, supplementing and hijacking to avoid the contents that discriminate and dwarf female in the original work, effectively translate the Chinese characteristic vocabulary and produce high-quality translations.

===References===

*Chamberlain, L(1992). Gender and the Metaphorics of Translation. Lawrence Venuti (ed.). Rethinking Translation: Discourse, Subjectivity, Ideology. London&New York: Routledge.

*De Beauvoir, Simone(1956). The Second Sex[M]. London: Jonathan Cape,687

*Flotow, L. Feminist translation: Contexts, practices and theories.TTR. traduction terminologie, redaction, 4(2), 69-84.

*Flotow, L(2004). Translation and Gender: Translating in the “Era of Feminism”[M]. Shanghai: Shanghai Foreign Language Education Press.

*Ge Xiaoqin葛校琴(2003).女性主义翻译之本质[J].外国研究(6).

*Han Yunxia韩云霞(2007).从女性主义翻译研究角度看杨必《名利场》译本中译者女性身影的显现.山东大学.

*Lǚ Xiaofei吕晓菲(2006). 女性主义视角下女性译者的重写——兼评《紫颜色》两个中文译本[D].广东外语外贸大学.

*Liao Qiyi廖七一(2000).当代西方翻译理论探索[M].南京:译林出版社.

*Liao Qiyi廖七一(2002).重写神话：女性主义与翻译研究[J].四川外国语学院学报.(2)106-109

*Liu Yaru刘亚儒(2005).加拿大女性主义翻译理论的起源、发展和现状[J].天津外国语学院学报, (02):11-16.

*Mu Lei穆雷(2008).翻译研究中的性别视角[M]. 武昌:武汉大学出版社.

*Mu Lei穆雷(1999).心弦——女翻译家金圣华教授访谈录[J].中国翻译(2).

*Simon, Sherry(1996). Gender in Translation: Cultural Identity and the Politics of Transmission[M]. London&New York: Routledge, 158

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

20220630 Classics 2

2022-07-04T14:08:43Z

Liao Shiyun: /* 英语笔译廖诗韵 Liao Shiyun 202170081582 CE */

Back to course homepage: [[Chinese Classics Translation 2022]], back to final exam paper overview: [[20220630_Classics]]

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Classics_save]]

==This is the final exam paper website no. 1==

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103.
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

===References===
*Hall E T .(1976).Beyond Culture. chicago.

*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.

*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123.

*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.

*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh

*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.

*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.

*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.

*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28.

*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.

*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.

In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.
===Key words===
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation
===Introduction===
1.A Brief Introducation to William Somerset Maugham

William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.

As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on.

Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.

In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.

2.A Brief Introduction to The Moon and Sixpence

The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.

The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”

The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.

3.A Brief Introduction to the Translater and Translating Verisons

The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm.

Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.

Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.

===Literature Review===
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.

Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.

Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.

The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.

===Methods and Theories===
1.The Translator's Role in Traditional Translation Studies

From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.

The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.

1.The Translator’s subjectivity

Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)

2. Factors of Affecting Translator's Subjectivity

Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.

The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。

===Subtitle 1 Analysis on Translating Cases ===
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.

1.Translator's Subjectivity in Semantic Comprehension and Interpretation

In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:

（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)

傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）

陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）

李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）

In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.

Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.

Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.

2. Translation Strategies in the Choice of Translator’s Subjectivity

中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。

Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.

(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）

In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.

Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.

(3)He followed me, and entered the apartment on my heels.(P98)

傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)

陈译：他尾随我进入公寓。（P180）

李译：他跟在我身后，紧贴着我走进了房间。（P179）

The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.

Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.

3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance

Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.

(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)

傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)

陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)

李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)

According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."

The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.

Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.

4. Translator's Subjectivity in Language Style

As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:

(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)

傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）

陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）

李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）

This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.

===Conclusion===
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.

This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.

In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.

To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.
===References===
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp.
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center>

<center>Li Yuan</center>

===Abstract===

''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.

===Key words===

''The Art of War''; the science of communication; English translation; reception; inspiration

===Introduction===

''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).

Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).

Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.

===Literature Review===

By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).

Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).

The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.

===Communication Theory--Lasswell's "5W Model"===

The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:
Convenient way to describe an act of communication is to answer the following questions:
Who
Says What
In Which Channel
To Whom
With What Effect?
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).

This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation
process from the perspective of communication science.

===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===

The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.

First Phase: 1905 to the 1930s

The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).

Second Phase: the 1940s to the 1980s

One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.

Third phase: the 1990s to present

After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.

===Insights from Reception of English Translations of ''The Art of War'' in the West from the Perspective of Communication===

From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers.

Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.

===Conclusion===

''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.

===References===

*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.

*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.

*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.

*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.

*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.

*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

In 2015, the English translation of The Three Body Problem won the Hugo Award for Best Long Story Award. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. It is a model for Chinese culture to go global. The book contains a lot of Chinese words, as well as sexist contents. That can not only cause reading difficulties for foreign readers, but also arouse the resistance of foreign readers who attach importance to gender equality. Therefore, the two translators, Ken Liu and Joel Martinsen, consciously added the necessary background information, and deleted and rewritten the content of discrimination against women, showing the subjectivity of the translators. Therefore, the popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation.

This paper briefly introduces the backghround information of the two translators, reviews the development of feminist translation thoery, and studies the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory. From the case analysis, the author finds out that the two translators adoped stategies including foodnotes, de-gendering, supplement and hijacking to produce high-quality translation and explores the gender consciousness and the subjectivity of the translators reflected in the translation.

===Key words===

Feminist Translation Theory; ''The Three Body Problem''; translation strategies;the subjectivity of the translators

===Introduction===
The Three Body Problem is a long sci-fi novel written by Liu Cixin, Chinese sci-fi author. In 2015, the English translation of the first book in the trilogy won the Hugo Award for Best Long Story Award given by the World Science Fiction Association at the 73rd World Science Fiction Conference in Spokane, Washington. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. The translator of the first book and the third book "Death's End" is Ken Liu, who is Chinese American. He is both a science fiction writer and a novel translator. The translator of the second book, The Dark Forest, is Joel Martinsen, an American translator who is a native English speaker. The popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation. Since its publication, "The Three Body Problem" has received much discussion in China due to its sexist sequences. How did it gain wide circulation and popularity in the Western countries that value gender equality? This paper will study the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory, and explore the gender consciousness and the subjectivity of the translators reflected in the translation.

===Literature Review===

The 21st century is an era where there are various modes of translation research, and Western countries has gained fruitful achievements in the study of translation theory. With the flourishing of feminism, translation research has undergone a major change, namely the "cultural turn" in the 1980s. In the 16th century, feminist thoughts emerged in England and France, which were leading the way in economic and social development. Feminist movements were carried out in society. In the second half of the 19th century and again in the 1950s, the feminist movement reached its peak. Feminist translation is one of the manifestations of the feminist movement in terms of discourse. Feminists pursued gender equality in literature and translation, creating a world of literature and translation that gave a voice to women. Subsequently, feminist translation theory first appeared on the historical stage. Sherry Simon, from a constructivist perspective, attempts to foreground the role of gender in translation, arguing that translation work simultaneously provokes and confuses the links between self and group, identity and alienation (Simon, 1996. 158). Simone De Beauvoir also argues that men and women explicitly affirm their brotherhood through their innate differences (De Beauvoir,1956:687).
Feminist translators believe that women have the same status as men and that translators have the same status as authors. They advocate translator subjectivity, and take gender factors as an important part of it. They believe that feminist translators can revise and rewrite the content of the original work that is not in line with feminism and discriminates against women. Luise Von Flotow, Canadian literary translator and translation theorist, published Translation and Gender:Translating in the “Era of Feminism” in 2004. This landmark work in feminist translation studies explains the relationship between translation and gender in terms of theory and practice, and explores three translation strategies commonly used by feminist translators, namely, prefaces and footnotes, supplements, and "hijacking."（Flotow, 2004:157）。
It is the tireless efforts of feminist translation researchers that have led to a major breakthrough in the field of translation studies. It has had a tremendous impact on people's traditional thinking, providing a new interpretation of translation studies and overturning the traditional translation principle of "fidelity". In short, feminist translation theory has continued to develop. People have begun to abandon traditional translation theories and strategies in order to completely eliminate discrimination against women and achieve gender equality.

The domestic translation circle started late in the study of feminist translation theory. In 1999, Mu Lei, a renowned female translator, first noticed that gender problem was an important factor in translation, in her writing Heartstrings—the Interview with Jin Shenghua published in Chinese Translation Journal (Mu 1999). In his book Explorations in Contemporary Western Translation Theory, Liao Qiyi first explored the influence of feminism on translation (Liao 2000). And in Re-write the myths: Feminism and translation studies, he tries to reveal the role played by the feminist critical paradigm in translation studies by analyzing examples (Liao 2002). Ge Xiaoqin, in her article "The Essence of Feminist Translation", summarizes the essence of feminist translation and its contribution to translation studies and cultural criticism and points out the epistemology, practice and methodology brought by feminist translation, by discussing the ideological origins of feminist translation(Ge 2003). It can be seen that the period between 1999 and 2003 was the initial stage of feminist translation theory. There was no more in-depth and comprehensive research yet. In 2004, Shanghai Foreign Language Education Press began to introduce Flotow's masterpiece, Translation and Gender-Translating in the ‘Era of Feminism’，marking a dramatic change in translation studies. Thus, the year of 2004 became a watershed year between the first and second phases, shaping the characteristics of feminist translation theory. It is necessary to mention the following masterpieces: In "The Origin, Development and Present Condition of Feminist Translation Theory in Canada," Liu Yaru examines the origin, development and present condition of Canadian feminist translation theory (Liu 2005)。In A Tentative Study on Women Translators’ Rewriting from the Perspective of Feminism—A Case Study of Two Chinese Translations of The Color Purple , Lü traces the gender metaphors in Western feminist translations from the perspective of cultural studies (Lü 2006). In 2004, the fourth issue of Chinese Translation Journal launched a column on "Feminist Translation Research", which included five representative papers. Since then, domestic research on feminist translation has been developing continuously. The number of articles on feminist translation theory has gradually increased. Articles introducing and discussing it from different perspectives enriches and develops feminist translation theory, and at the same time encourages more translation researchers to pay attention to the practical research of feminist translation theory and to use the theory to evaluate works, especially female translation works.

===Methods and Theories===
Feminist theory has brought to translation research not only a gender-conscious perspective, but a new mode of thinking and a different research direction. In addition to vigorously advocating women's voices and challenging the traditional conceptions of translation in the field, feminists also strive to motivate translators to take the initiative in the translation process and propose a female discourse based on gender identity. Many feminist scholars and translators have attempted to redefine the delicate relationship between the original text and the target text by completely overturning the traditional mainstream conceptions of translation theory. In terms of theoretical research and translation practice, Chamberlain(1992) explains that the central concept of feminist translation theory is the deconstruction of the original text in language and the elimination of gender discrimination. Therefore, it is necessary to strike a balance between translation and target text to reveal the essence of feminine consciousness. Therefore, it is necessary to strike a balance between translation and the target text to reveal the essence of feminine consciousness. In China, a group of scholars led by Mu Lei categorized the main principles of Western feminist translation scholars into four major categories: gender and translation, deconstructing "fidelity," emphasizing the importance of the translator's subjectivity, and rewriting in the name of feminine consciousness.

In feminist translation practice, the subjectivity of translators is reflected not only in the choice of texts, but also in the choice of translation strategies. Feminist translators firmly believe that translation is a political act, which provides them with ideological support for manipulating and interfering with the original text. Therefore, translation strategies are important for them to achieve their purposes, which can be mainly summarized as follows:

Prefaces and foodnotes

Prefaces and footnotes in translations is the most common means by which translators put feminist translation theory into practice. Footnotes, usually located at the bottom of each page of the translation, offer some explaination of the translation so that the reader can better understand certain details of the translation. A preface, usually added before the whole translation, is used to briefly describe the whole translation project, recount the general idea of the original text, and describe some special methods used by the translator in the translation process. In terms of the purpose of feminist translation, adding a footnote and adding a preface have something in common. They both aim to reflect the translator's thoughts on feminism, to promote the core values of feminism, to criticize the patriarchy's unequal behavior toward women, and to fight for more rights for women in general. Therefore, even if there is macho bullying of women in the original text, the translator does not hesitate to point it out and criticize it. In the implementation of these two approaches, the preface embodies the promotion of feminism as a whole, while the footnotes will show the deeper connotation of feminism in certain details.

De-gendering

De-gendering, or the "manipulation" of specific sexist expressions embedded in the original text (Han, 2007). This is a strategy often used by many feminist translators to make the image or voice of women visible. Because gender is an important component of feminism, feminist translators emphasize gender-conscious words, phrases, and sentences in their translations of the original text. De-gendering means replacing words such as "he" and "his" with "she" and "her" and phrases such as "man in office and power" with "man in office and power" in an attempt to avoid or reduce male discourse and introduce female words into the translation to highlight female subjectivity. In feminist translation, "man" or "he" is not the only word that refers to all people in general.

Supplementation

Adding to the target text in one certain part of the text is also an important method of feminist translation theory. In fact, this method is not unique to feminist translation, but is also common in many traditional translation practices. In order to eliminate the differences between two cultures, translators can make appropriate additions to better transform the original text into a translation, thus satisfying the reading habits and cultural needs of the target language readers.

Hijacking

If supplementation is a more moderate approach in feminist translation, hijacking is a very radical approach. Supplementation means that even though the supplemented content embodies the feminist character, translators still make appropriate and reasonable additions based on the semantics of the original. "Hijacking" is a feminist translation strategy proposed by Flotow. (Flotow.1991(2):69-84) "Hijacking" refers to the manipulation of a text by a female translator without changing the specific message of the original text in an attempt to gain new meaning. Feminist translators rewrite the text according to their own preferences and subjective intentions. They modify many masculine words, such as "woman and man" and "her or his". In order to highlight the position of women in the text and make their voices heard. Feminist translators have rewritten the language in a feminist way. This approach can be used to reduce or eliminate the sexism revealed in the original text by changing the vocabulary of the original text or even partially abridging the translation. The use of hijacking in translation projects has been the subject of much controversy. Opponents argue that it has deviated significantly from the original work and is inconsistent with the translation project itself, as well as with the author herself. Feminist translators argue that "hijacking" is not only a necessary translation method in translation projects, but also an important means for translators to reshape and recreate the original work.

===Brief Introduction of The Three Body Problem===
The Three Body series written by Liu Cixin consists of three parts, The Three Body Problem, The Dark Forest, and Death's End. It was published by Science Fiction World from 2006 to 2010. Based on the three-body problem, an intractable mystery in the field of physics, the series depicts from a macro perspective a vast universe where numerous civilizations exist, each vastly different from the other, yet facing similar survival choices. The author explores human nature in depth from the perspective of science fiction. With its grand layout and sublime meaning, the book has been hailed as the most outstanding science fiction novel in modern Chinese history. It was a turning point in the development of Chinese science fiction. The English translation of the novel was nominated for the 2014 Nebula Award of the Science Fiction and Fantasy Writers of America, and later won the 2015 Hugo Award for Best Long Story Award. This is the first time for an Asian to appear on the list of winners of the Hugo Awards. This is also an important step for Chinese science fiction to go global. It is considered a milestone for Chinese science fiction. In addition to the English translation, it has also been translated into nine languages, including Korean, Turkish, French, Spanish, German, Hungarian, and Vietnamese, showing the overseas influence of the book.

===Brief Introduction of the author and the translators===
Liu Cixin is a Chinese science fiction writer born in 1963. From 1999 to 2006, he won the Galaxy Award, China's most prestigious literary and scientific fiction award. And in 2015, he received the Hugo Award, becoming the first Asian writer to win this award. His representative works include the short story "Wandering Earth".

Ken Liuis a Chinese-American science fiction writer and translator, dedicated to writing science fiction and translating Chinese science fiction and literary stories. His first award-winning book, The Paper Menagerie, won the international awards including Nebula and Hugo Awards for literary works. He is responsible for the translation of the first and third books of The Three Body Series. The first English translation won the 2015 Hugo Award for Best Novel, and the third was shortlisted for the 2017 Hugo Award for Best Long Novel. He grew up in America, and was influenced and nurtured by gender equality, equality for all, and the gender equality movement from an early age. At the same time, Ken Liu's parents are Chinese who grew up in China. Therefore he was also influenced by Chinese culture from an early age. That enabled him to have a cultural and linguistic advantage in translating "The Three Body Problem".

Joel Martinsen is an American translator. He has focused on Chinese language and literature since he was provided with Chinese courses in high school. He had a Master degree in the Modern Chinese Literature at Beijing Normal University. As the translator of the second volume of The Three-Body, Martinsen is qualified enough for his academic background as well as a high Chinese language proficiency.

===A Case Study on the English Translation of The Three-Body Problem under Feminist Translation Theory===

Reading through The Tree Body Problem, it is easy to see that the entire work has a negative assessment of the female community, and discriminatory content against women is commonplace. Western society has always attached much importance to gender equality, at least to maintain political correctness. In order to make the work acceptable to readers in Western countries, optimize the reading experience and reduce their resistance, the translator's role is crucial. Ken Liu and Joel Martinsen have undoubtedly put in a lot of efforts to make The Three Body Problem win many awards in the World Science Fiction Literary Awards and gain the praise of many readers. In this section, a case study of the English translation of The Three Bodies will be presented from feminist translation theory.

De-gendering

Feminist translation emphasizes the subjectivity of the translator and proposes a "gender-neutral" concept of translation, aiming at eliminating gender discrimination in language and establishing a gender-equal language.

Example 1: 对于普通的女性，也许时间能够渐渐愈合这些创伤，毕竟，“文革“中有她这样遭遇的女性太多了，比起她们中的很多人，她算是幸运的。但叶文洁是一位科学女性。

Translation: For most people, perhaps time would have gradually healed these wounds. After all, during the Cultural Revolution, many people suffered fates similar to hers, and compared to many of them, Ye was relatively fortunate. But Ye had the mental habits of a scientist.

Analysis: In The Three Body Problem, female characters are always more negative than male characters. Female characters are always considered lucky rather than capable after they succeed in making something. The translator has a high degree of gender consciousness. The translator replaces the words “普通女性”,“女性”,“科学女性” with "people" and "scientist" in this sentence, so as to prevent gender discrimination and to reflect gender awareness.

Example 2: 那是最不可能令孩子，特别是女孩子入迷的音乐了
Translation: That was the kind of music that shouldn’t have mesmerized a kid.

Analysis: The original text implies that girls are less able to understand Bach's music than boys. In order to avoid gender discrimination by associating women with a particular trait, the translator changed the word "女孩子" to "kid" in the translation. The translator cannot recreate the characterization, but can de-genderize the language when dealing with sexist language.

Example 3: 菲律宾贡献给世界的第三个美女政治家，也是在这个职位上危机前后跨越两个时代的一位。
Translation: The administration of this Filipino politician had straddled the pre- and post-crisis eras.
分析：Ms. Sae was the first female Secretary-General of the United Nations, with a distinguished achievement of international negotiation and handling of international disputes. Ms. Sae's achievements are not related to her appearance, and if the adjective "beautiful" is used in the translation, it may lead to speculation and dissatisfaction among readers. The tone of the original text shows that women are not competent enough to take on important political roles or to lead the wars of the universe. This is a rigid perception and stereotype of women in society.

Hijacking
Feminist translators will downplay or remove strongly feminized depictions. Under a patriarchal society, women are seen as objects of appreciation. The male-centric consciousness is showed from patriarchal language that excessively focus on the depiction of women's appearance, bodies, etc. It reflects a prejudice of women, ignores their inner character and stifles their autonomous identity. For this reason, feminist translators actively exert the subjectivity of the translators, trying to break the center of male discourse and re-establish a positive and positive image of women.

Example 4: 美丽女孩双手托起晶亮的金属球，让人联想到身材苗条的艺术体操运动员，她露出那动人的笑，用悦耳的声音说。

Translation: The young woman raised the bright metal sphere before with both hands, as though she were getting ready to start a gymnastics routine. Smiling, she said…

Analysis: In the above example, there are some words and expressions of female description. In the ancient traditional gender ethics, women were always regarded as subordinate and subservient to men under the domination of a male-dominated society. But this traditional view has been severely criticized by modern feminists, who desire linguistic equality. In view of this, the translator has consciously cut down and modified the descriptions of feminine features. In particular, in the original text, descriptions such as "beautiful woman", "slim figure", and "sweet smile and voice" are absent from the translation, which to a certain extent weaken the sense of gender discrimination.

Example 5: 她像个小泼妇一样一天与那六个女人打好几次架
Translation: She fought the other women, sometimes several times a day.

Analysis：The word "泼妇" is a derogatory term used to describe women who is rude and unreasonable. Here, the translator has left this sexist word out of the translation. And the translation maintains a positive image of women.

Foodnote

Example 6:“你怎么又会有这种想法？那可并不一定，这是乱纪元。”追随者说着转向周文王，“姬昌，给我些鱼干吃吧。”
“不行！”周文王断然说道，“我也是勉强吃饱的，要保证我能走到朝歌，而不是你。”

Translation:”What makes you think that? There’s no way to be certain. I told you, this is a Chaotic Era.” Follower turned to King Wen. “May I have some dried fish?”
“Absolutely not,” King Wen’s tone brooked no disagreement, “I barely have enough for myself. We must guarantee that I make it to Zhao Ge, not you.

Translator’s note: Zhao Ge was the capital of Shang China, where King Zhou held court.

Analysis: The Three Body Problem is a science fiction novel in which the main character, Wang Miao, enters the physical world with the help of equipment and explores the game scenes himself. The reader does not know that the history of Warring States Period and the destination is "朝歌". Considering the lack of background information in the novel, the translator adds information to the text.

Example 7: 后来的事实证明她这次赌博是正确的，“文革”还没有结束，她的丈夫已经部分恢复了职位，十一届三中全会后，他迅速升到了副部级。

Translation: Her gamble paid off. Even before the end of the Cultural Revolution, her husband ws partially restored to his old position. After the Third Plenary Session of the Eleventh CPC Central Committee, he was soon promoted to the level of a deputy minister.

Translator’s note: This meeting marked the beginning of the “Reform and Opening up” policy and was seen as the moment when Deng Xiaoping became the leader of China.

Analysis: In the Chinese history, the Third Plenary Session of the Eleventh Central Committee of the Party is considered to be a turning point for China. Since the reform and opening up, Deng Xiaoping delivered an important speech at the Great Hall of the People, proposing a rapid shift in the focus of China's work to economic development and construction. More importantly, the conference played an important role in promoting social order and improving people's living standards. Foreign readers may have difficulty understanding this terminology. Therefore, additional information seems to be necessary.

Supplement

Cultural differences between the two languages determine the untranslatability of the literature. Therefore, the compensation of background knowledge and information is essential in the translation process. Supplement tries to achieve the same purpose as the preface and footnotes in a different way.

Example 10: “红色联合“的指挥官心急如焚，他并不惧怕大楼的守卫者，那二百多名“四.二八”战士，与诞生于1966年初、经历过大检阅和大串联的“红色联合”相比要稚嫩许多。

Translation: The Red Union commander was anxious, though not because of the defenders he faced. The more than two hundred Red Guards of the April Twenty-eight Brigade were mere greenhorns compared with the veteran Red Guards of the Red Union, which was formed at the start of the Great Proletarian Cultural Revolution in early 1966. The Red Union had been tempered by the tumultuous experience of revolutionary tours around the country and seeing Chairman Mao in the great rallies in Tiananmen Square.

Analysis: The story takes place during the Cultural Revolution, and the Red Union is a political product of that period. It is difficult for foreign readers to understand this term with Chinese characteristics. Therefore, the translator intentionally adds more background knowledge and information to cope with the cultural default, even though there is no additional explanation of the Red Society in the original text.

===Conclusion===
Inspired by feminist translation theories, translation scholarship is increasingly enriched with insights on gender consciousness reflected in the translation process. It is undeniable that feminist translation theory has made great contributions to promoting gender equality and empowering women under a male-centered social system. This paper analyzes some examples of the English translation of The Three Body Problem from the feminist translation theory. Through the above analysis, it is found that the translators Ken Liu and Joel Martinsen show a strong feminist consciousness in the translation process, using feminist translation strategies such as de-gendering, footnoting, supplementing and hijacking to avoid the contents that discriminate and dwarf female in the original work, effectively translate the Chinese characteristic vocabulary and produce high-quality translations.

===References===

*Chamberlain, L(1992). Gender and the Metaphorics of Translation. Lawrence Venuti (ed.). Rethinking Translation: Discourse, Subjectivity, Ideology. London&New York: Routledge.

*De Beauvoir, Simone(1956). The Second Sex[M]. London: Jonathan Cape,687

*Flotow, L. Feminist translation: Contexts, practices and theories.TTR. traduction terminologie, redaction, 4(2), 69-84.

*Flotow, L(2004). Translation and Gender: Translating in the “Era of Feminism”[M]. Shanghai: Shanghai Foreign Language Education Press.

*Ge Xiaoqin葛校琴(2003).女性主义翻译之本质[J].外国研究(6).

*Han Yunxia韩云霞(2007).从女性主义翻译研究角度看杨必《名利场》译本中译者女性身影的显现.山东大学.

*Lǚ Xiaofei吕晓菲(2006). 女性主义视角下女性译者的重写——兼评《紫颜色》两个中文译本[D].广东外语外贸大学.

*Liao Qiyi廖七一(2000).当代西方翻译理论探索[M].南京:译林出版社.

*Liao Qiyi廖七一(2002).重写神话：女性主义与翻译研究[J].四川外国语学院学报.(2)106-109

*Liu Yaru刘亚儒(2005).加拿大女性主义翻译理论的起源、发展和现状[J].天津外国语学院学报, (02):11-16.

*Mu Lei穆雷(2008).翻译研究中的性别视角[M]. 武昌:武汉大学出版社.

*Mu Lei穆雷(1999).心弦——女翻译家金圣华教授访谈录[J].中国翻译(2).

*Simon, Sherry(1996). Gender in Translation: Cultural Identity and the Politics of Transmission[M]. London&New York: Routledge, 158

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

20220630 Classics 2

2022-07-04T13:55:09Z

Liao Shiyun: /* Abstract */

Back to course homepage: [[Chinese Classics Translation 2022]], back to final exam paper overview: [[20220630_Classics]]

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Classics_save]]

==This is the final exam paper website no. 1==

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103.
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

===References===
*Hall E T .(1976).Beyond Culture. chicago.

*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.

*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123.

*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.

*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh

*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.

*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.

*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.

*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28.

*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.

*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.

In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.
===Key words===
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation
===Introduction===
1.A Brief Introducation to William Somerset Maugham

William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.

As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on.

Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.

In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.

2.A Brief Introduction to The Moon and Sixpence

The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.

The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”

The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.

3.A Brief Introduction to the Translater and Translating Verisons

The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm.

Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.

Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.

===Literature Review===
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.

Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.

Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.

The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.

===Methods and Theories===
1.The Translator's Role in Traditional Translation Studies

From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.

The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.

1.The Translator’s subjectivity

Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)

2. Factors of Affecting Translator's Subjectivity

Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.

The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。

===Subtitle 1 Analysis on Translating Cases ===
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.

1.Translator's Subjectivity in Semantic Comprehension and Interpretation

In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:

（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)

傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）

陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）

李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）

In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.

Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.

Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.

2. Translation Strategies in the Choice of Translator’s Subjectivity

中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。

Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.

(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）

In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.

Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.

(3)He followed me, and entered the apartment on my heels.(P98)

傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)

陈译：他尾随我进入公寓。（P180）

李译：他跟在我身后，紧贴着我走进了房间。（P179）

The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.

Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.

3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance

Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.

(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)

傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)

陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)

李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)

According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."

The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.

Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.

4. Translator's Subjectivity in Language Style

As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:

(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)

傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）

陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）

李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）

This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.

===Conclusion===
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.

This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.

In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.

To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.
===References===
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp.
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center>

<center>Li Yuan</center>

===Abstract===

''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.

===Key words===

''The Art of War''; the science of communication; English translation; reception; inspiration

===Introduction===

''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).

Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).

Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.

===Literature Review===

By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).

Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).

The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.

===Communication Theory--Lasswell's "5W Model"===

The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:
Convenient way to describe an act of communication is to answer the following questions:
Who
Says What
In Which Channel
To Whom
With What Effect?
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).

This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation
process from the perspective of communication science.

===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===

The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.

First Phase: 1905 to the 1930s

The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).

Second Phase: the 1940s to the 1980s

One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.

Third phase: the 1990s to present

After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.

===Insights from Reception of English Translations of ''The Art of War'' in the West from the Perspective of Communication===

From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers.

Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.

===Conclusion===

''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.

===References===

*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.

*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.

*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.

*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.

*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.

*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

In 2015, the English translation of The Three Body Problem won the Hugo Award for Best Long Story Award. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. It is a model for Chinese culture to go global. The book contains a lot of Chinese words, as well as sexist contents. That can not only cause reading difficulties for foreign readers, but also arouse the resistance of foreign readers who attach importance to gender equality. Therefore, the two translators, Ken Liu and Joel Martinsen, consciously added the necessary background information, and deleted and rewritten the content of discrimination against women, showing the subjectivity of the translators. Therefore, the popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation. This paper will study the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory, and explore the gender consciousness and the subjectivity of the translators reflected in the translation.

===Key words===

Feminist Translation Theory; ''The Three Body Problem''; translation strategies

===Introduction===
The Three Body Problem is a long sci-fi novel written by Liu Cixin, Chinese sci-fi author. In 2015, the English translation of the first book in the trilogy won the Hugo Award for Best Long Story Award given by the World Science Fiction Association at the 73rd World Science Fiction Conference in Spokane, Washington. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. The translator of the first book and the third book "Death's End" is Ken Liu, who is Chinese American. He is both a science fiction writer and a novel translator. The translator of the second book, The Dark Forest, is Joel Martinsen, an American translator who is a native English speaker. The popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation. Since its publication, "The Three Body Problem" has received much discussion in China due to its sexist sequences. How did it gain wide circulation and popularity in the Western countries that value gender equality? This paper will study the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory, and explore the gender consciousness and the subjectivity of the translators reflected in the translation.

===Literature Review===

The 21st century is an era where there are various modes of translation research, and Western countries has gained fruitful achievements in the study of translation theory. With the flourishing of feminism, translation research has undergone a major change, namely the "cultural turn" in the 1980s. In the 16th century, feminist thoughts emerged in England and France, which were leading the way in economic and social development. Feminist movements were carried out in society. In the second half of the 19th century and again in the 1950s, the feminist movement reached its peak. Feminist translation is one of the manifestations of the feminist movement in terms of discourse. Feminists pursued gender equality in literature and translation, creating a world of literature and translation that gave a voice to women. Subsequently, feminist translation theory first appeared on the historical stage. Sherry Simon, from a constructivist perspective, attempts to foreground the role of gender in translation, arguing that translation work simultaneously provokes and confuses the links between self and group, identity and alienation (Simon, 1996. 158). Simone De Beauvoir also argues that men and women explicitly affirm their brotherhood through their innate differences (De Beauvoir,1956:687).
Feminist translators believe that women have the same status as men and that translators have the same status as authors. They advocate translator subjectivity, and take gender factors as an important part of it. They believe that feminist translators can revise and rewrite the content of the original work that is not in line with feminism and discriminates against women. Luise Von Flotow, Canadian literary translator and translation theorist, published Translation and Gender:Translating in the “Era of Feminism” in 2004. This landmark work in feminist translation studies explains the relationship between translation and gender in terms of theory and practice, and explores three translation strategies commonly used by feminist translators, namely, prefaces and footnotes, supplements, and "hijacking."（Flotow, 2004:157）。
It is the tireless efforts of feminist translation researchers that have led to a major breakthrough in the field of translation studies. It has had a tremendous impact on people's traditional thinking, providing a new interpretation of translation studies and overturning the traditional translation principle of "fidelity". In short, feminist translation theory has continued to develop. People have begun to abandon traditional translation theories and strategies in order to completely eliminate discrimination against women and achieve gender equality.

The domestic translation circle started late in the study of feminist translation theory. In 1999, Mu Lei, a renowned female translator, first noticed that gender problem was an important factor in translation, in her writing Heartstrings—the Interview with Jin Shenghua published in Chinese Translation Journal (Mu 1999). In his book Explorations in Contemporary Western Translation Theory, Liao Qiyi first explored the influence of feminism on translation (Liao 2000). And in Re-write the myths: Feminism and translation studies, he tries to reveal the role played by the feminist critical paradigm in translation studies by analyzing examples (Liao 2002). Ge Xiaoqin, in her article "The Essence of Feminist Translation", summarizes the essence of feminist translation and its contribution to translation studies and cultural criticism and points out the epistemology, practice and methodology brought by feminist translation, by discussing the ideological origins of feminist translation(Ge 2003). It can be seen that the period between 1999 and 2003 was the initial stage of feminist translation theory. There was no more in-depth and comprehensive research yet. In 2004, Shanghai Foreign Language Education Press began to introduce Flotow's masterpiece, Translation and Gender-Translating in the ‘Era of Feminism’，marking a dramatic change in translation studies. Thus, the year of 2004 became a watershed year between the first and second phases, shaping the characteristics of feminist translation theory. It is necessary to mention the following masterpieces: In "The Origin, Development and Present Condition of Feminist Translation Theory in Canada," Liu Yaru examines the origin, development and present condition of Canadian feminist translation theory (Liu 2005)。In A Tentative Study on Women Translators’ Rewriting from the Perspective of Feminism—A Case Study of Two Chinese Translations of The Color Purple , Lü traces the gender metaphors in Western feminist translations from the perspective of cultural studies (Lü 2006). In 2004, the fourth issue of Chinese Translation Journal launched a column on "Feminist Translation Research", which included five representative papers. Since then, domestic research on feminist translation has been developing continuously. The number of articles on feminist translation theory has gradually increased. Articles introducing and discussing it from different perspectives enriches and develops feminist translation theory, and at the same time encourages more translation researchers to pay attention to the practical research of feminist translation theory and to use the theory to evaluate works, especially female translation works.

===Methods and Theories===
Feminist theory has brought to translation research not only a gender-conscious perspective, but a new mode of thinking and a different research direction. In addition to vigorously advocating women's voices and challenging the traditional conceptions of translation in the field, feminists also strive to motivate translators to take the initiative in the translation process and propose a female discourse based on gender identity. Many feminist scholars and translators have attempted to redefine the delicate relationship between the original text and the target text by completely overturning the traditional mainstream conceptions of translation theory. In terms of theoretical research and translation practice, Chamberlain(1992) explains that the central concept of feminist translation theory is the deconstruction of the original text in language and the elimination of gender discrimination. Therefore, it is necessary to strike a balance between translation and target text to reveal the essence of feminine consciousness. Therefore, it is necessary to strike a balance between translation and the target text to reveal the essence of feminine consciousness. In China, a group of scholars led by Mu Lei categorized the main principles of Western feminist translation scholars into four major categories: gender and translation, deconstructing "fidelity," emphasizing the importance of the translator's subjectivity, and rewriting in the name of feminine consciousness.

In feminist translation practice, the subjectivity of translators is reflected not only in the choice of texts, but also in the choice of translation strategies. Feminist translators firmly believe that translation is a political act, which provides them with ideological support for manipulating and interfering with the original text. Therefore, translation strategies are important for them to achieve their purposes, which can be mainly summarized as follows:

Prefaces and foodnotes

Prefaces and footnotes in translations is the most common means by which translators put feminist translation theory into practice. Footnotes, usually located at the bottom of each page of the translation, offer some explaination of the translation so that the reader can better understand certain details of the translation. A preface, usually added before the whole translation, is used to briefly describe the whole translation project, recount the general idea of the original text, and describe some special methods used by the translator in the translation process. In terms of the purpose of feminist translation, adding a footnote and adding a preface have something in common. They both aim to reflect the translator's thoughts on feminism, to promote the core values of feminism, to criticize the patriarchy's unequal behavior toward women, and to fight for more rights for women in general. Therefore, even if there is macho bullying of women in the original text, the translator does not hesitate to point it out and criticize it. In the implementation of these two approaches, the preface embodies the promotion of feminism as a whole, while the footnotes will show the deeper connotation of feminism in certain details.

De-gendering

De-gendering, or the "manipulation" of specific sexist expressions embedded in the original text (Han, 2007). This is a strategy often used by many feminist translators to make the image or voice of women visible. Because gender is an important component of feminism, feminist translators emphasize gender-conscious words, phrases, and sentences in their translations of the original text. De-gendering means replacing words such as "he" and "his" with "she" and "her" and phrases such as "man in office and power" with "man in office and power" in an attempt to avoid or reduce male discourse and introduce female words into the translation to highlight female subjectivity. In feminist translation, "man" or "he" is not the only word that refers to all people in general.

Supplementation

Adding to the target text in one certain part of the text is also an important method of feminist translation theory. In fact, this method is not unique to feminist translation, but is also common in many traditional translation practices. In order to eliminate the differences between two cultures, translators can make appropriate additions to better transform the original text into a translation, thus satisfying the reading habits and cultural needs of the target language readers.

Hijacking

If supplementation is a more moderate approach in feminist translation, hijacking is a very radical approach. Supplementation means that even though the supplemented content embodies the feminist character, translators still make appropriate and reasonable additions based on the semantics of the original. "Hijacking" is a feminist translation strategy proposed by Flotow. (Flotow.1991(2):69-84) "Hijacking" refers to the manipulation of a text by a female translator without changing the specific message of the original text in an attempt to gain new meaning. Feminist translators rewrite the text according to their own preferences and subjective intentions. They modify many masculine words, such as "woman and man" and "her or his". In order to highlight the position of women in the text and make their voices heard. Feminist translators have rewritten the language in a feminist way. This approach can be used to reduce or eliminate the sexism revealed in the original text by changing the vocabulary of the original text or even partially abridging the translation. The use of hijacking in translation projects has been the subject of much controversy. Opponents argue that it has deviated significantly from the original work and is inconsistent with the translation project itself, as well as with the author herself. Feminist translators argue that "hijacking" is not only a necessary translation method in translation projects, but also an important means for translators to reshape and recreate the original work.

===Brief Introduction of The Three Body Problem===
The Three Body series written by Liu Cixin consists of three parts, The Three Body Problem, The Dark Forest, and Death's End. It was published by Science Fiction World from 2006 to 2010. Based on the three-body problem, an intractable mystery in the field of physics, the series depicts from a macro perspective a vast universe where numerous civilizations exist, each vastly different from the other, yet facing similar survival choices. The author explores human nature in depth from the perspective of science fiction. With its grand layout and sublime meaning, the book has been hailed as the most outstanding science fiction novel in modern Chinese history. It was a turning point in the development of Chinese science fiction. The English translation of the novel was nominated for the 2014 Nebula Award of the Science Fiction and Fantasy Writers of America, and later won the 2015 Hugo Award for Best Long Story Award. This is the first time for an Asian to appear on the list of winners of the Hugo Awards. This is also an important step for Chinese science fiction to go global. It is considered a milestone for Chinese science fiction. In addition to the English translation, it has also been translated into nine languages, including Korean, Turkish, French, Spanish, German, Hungarian, and Vietnamese, showing the overseas influence of the book.

===Brief Introduction of the author and the translators===
Liu Cixin is a Chinese science fiction writer born in 1963. From 1999 to 2006, he won the Galaxy Award, China's most prestigious literary and scientific fiction award. And in 2015, he received the Hugo Award, becoming the first Asian writer to win this award. His representative works include the short story "Wandering Earth".

Ken Liuis a Chinese-American science fiction writer and translator, dedicated to writing science fiction and translating Chinese science fiction and literary stories. His first award-winning book, The Paper Menagerie, won the international awards including Nebula and Hugo Awards for literary works. He is responsible for the translation of the first and third books of The Three Body Series. The first English translation won the 2015 Hugo Award for Best Novel, and the third was shortlisted for the 2017 Hugo Award for Best Long Novel. He grew up in America, and was influenced and nurtured by gender equality, equality for all, and the gender equality movement from an early age. At the same time, Ken Liu's parents are Chinese who grew up in China. Therefore he was also influenced by Chinese culture from an early age. That enabled him to have a cultural and linguistic advantage in translating "The Three Body Problem".

Joel Martinsen is an American translator. He has focused on Chinese language and literature since he was provided with Chinese courses in high school. He had a Master degree in the Modern Chinese Literature at Beijing Normal University. As the translator of the second volume of The Three-Body, Martinsen is qualified enough for his academic background as well as a high Chinese language proficiency.

===A Case Study on the English Translation of The Three-Body Problem under Feminist Translation Theory===

Reading through The Tree Body Problem, it is easy to see that the entire work has a negative assessment of the female community, and discriminatory content against women is commonplace. Western society has always attached much importance to gender equality, at least to maintain political correctness. In order to make the work acceptable to readers in Western countries, optimize the reading experience and reduce their resistance, the translator's role is crucial. Ken Liu and Joel Martinsen have undoubtedly put in a lot of efforts to make The Three Body Problem win many awards in the World Science Fiction Literary Awards and gain the praise of many readers. In this section, a case study of the English translation of The Three Bodies will be presented from feminist translation theory.

De-gendering

Feminist translation emphasizes the subjectivity of the translator and proposes a "gender-neutral" concept of translation, aiming at eliminating gender discrimination in language and establishing a gender-equal language.

Example 1: 对于普通的女性，也许时间能够渐渐愈合这些创伤，毕竟，“文革“中有她这样遭遇的女性太多了，比起她们中的很多人，她算是幸运的。但叶文洁是一位科学女性。

Translation: For most people, perhaps time would have gradually healed these wounds. After all, during the Cultural Revolution, many people suffered fates similar to hers, and compared to many of them, Ye was relatively fortunate. But Ye had the mental habits of a scientist.

Analysis: In The Three Body Problem, female characters are always more negative than male characters. Female characters are always considered lucky rather than capable after they succeed in making something. The translator has a high degree of gender consciousness. The translator replaces the words “普通女性”,“女性”,“科学女性” with "people" and "scientist" in this sentence, so as to prevent gender discrimination and to reflect gender awareness.

Example 2: 那是最不可能令孩子，特别是女孩子入迷的音乐了
Translation: That was the kind of music that shouldn’t have mesmerized a kid.

Analysis: The original text implies that girls are less able to understand Bach's music than boys. In order to avoid gender discrimination by associating women with a particular trait, the translator changed the word "女孩子" to "kid" in the translation. The translator cannot recreate the characterization, but can de-genderize the language when dealing with sexist language.

Example 3: 菲律宾贡献给世界的第三个美女政治家，也是在这个职位上危机前后跨越两个时代的一位。
Translation: The administration of this Filipino politician had straddled the pre- and post-crisis eras.
分析：Ms. Sae was the first female Secretary-General of the United Nations, with a distinguished achievement of international negotiation and handling of international disputes. Ms. Sae's achievements are not related to her appearance, and if the adjective "beautiful" is used in the translation, it may lead to speculation and dissatisfaction among readers. The tone of the original text shows that women are not competent enough to take on important political roles or to lead the wars of the universe. This is a rigid perception and stereotype of women in society.

Hijacking
Feminist translators will downplay or remove strongly feminized depictions. Under a patriarchal society, women are seen as objects of appreciation. The male-centric consciousness is showed from patriarchal language that excessively focus on the depiction of women's appearance, bodies, etc. It reflects a prejudice of women, ignores their inner character and stifles their autonomous identity. For this reason, feminist translators actively exert the subjectivity of the translators, trying to break the center of male discourse and re-establish a positive and positive image of women.

Example 4: 美丽女孩双手托起晶亮的金属球，让人联想到身材苗条的艺术体操运动员，她露出那动人的笑，用悦耳的声音说。

Translation: The young woman raised the bright metal sphere before with both hands, as though she were getting ready to start a gymnastics routine. Smiling, she said…

Analysis: In the above example, there are some words and expressions of female description. In the ancient traditional gender ethics, women were always regarded as subordinate and subservient to men under the domination of a male-dominated society. But this traditional view has been severely criticized by modern feminists, who desire linguistic equality. In view of this, the translator has consciously cut down and modified the descriptions of feminine features. In particular, in the original text, descriptions such as "beautiful woman", "slim figure", and "sweet smile and voice" are absent from the translation, which to a certain extent weaken the sense of gender discrimination.

Example 5: 她像个小泼妇一样一天与那六个女人打好几次架
Translation: She fought the other women, sometimes several times a day.

Analysis：The word "泼妇" is a derogatory term used to describe women who is rude and unreasonable. Here, the translator has left this sexist word out of the translation. And the translation maintains a positive image of women.

Foodnote

Example 6:“你怎么又会有这种想法？那可并不一定，这是乱纪元。”追随者说着转向周文王，“姬昌，给我些鱼干吃吧。”
“不行！”周文王断然说道，“我也是勉强吃饱的，要保证我能走到朝歌，而不是你。”

Translation:”What makes you think that? There’s no way to be certain. I told you, this is a Chaotic Era.” Follower turned to King Wen. “May I have some dried fish?”
“Absolutely not,” King Wen’s tone brooked no disagreement, “I barely have enough for myself. We must guarantee that I make it to Zhao Ge, not you.

Translator’s note: Zhao Ge was the capital of Shang China, where King Zhou held court.

Analysis: The Three Body Problem is a science fiction novel in which the main character, Wang Miao, enters the physical world with the help of equipment and explores the game scenes himself. The reader does not know that the history of Warring States Period and the destination is "朝歌". Considering the lack of background information in the novel, the translator adds information to the text.

Example 7: 后来的事实证明她这次赌博是正确的，“文革”还没有结束，她的丈夫已经部分恢复了职位，十一届三中全会后，他迅速升到了副部级。

Translation: Her gamble paid off. Even before the end of the Cultural Revolution, her husband ws partially restored to his old position. After the Third Plenary Session of the Eleventh CPC Central Committee, he was soon promoted to the level of a deputy minister.

Translator’s note: This meeting marked the beginning of the “Reform and Opening up” policy and was seen as the moment when Deng Xiaoping became the leader of China.

Analysis: In the Chinese history, the Third Plenary Session of the Eleventh Central Committee of the Party is considered to be a turning point for China. Since the reform and opening up, Deng Xiaoping delivered an important speech at the Great Hall of the People, proposing a rapid shift in the focus of China's work to economic development and construction. More importantly, the conference played an important role in promoting social order and improving people's living standards. Foreign readers may have difficulty understanding this terminology. Therefore, additional information seems to be necessary.

Supplement

Cultural differences between the two languages determine the untranslatability of the literature. Therefore, the compensation of background knowledge and information is essential in the translation process. Supplement tries to achieve the same purpose as the preface and footnotes in a different way.

Example 10: “红色联合“的指挥官心急如焚，他并不惧怕大楼的守卫者，那二百多名“四.二八”战士，与诞生于1966年初、经历过大检阅和大串联的“红色联合”相比要稚嫩许多。

Translation: The Red Union commander was anxious, though not because of the defenders he faced. The more than two hundred Red Guards of the April Twenty-eight Brigade were mere greenhorns compared with the veteran Red Guards of the Red Union, which was formed at the start of the Great Proletarian Cultural Revolution in early 1966. The Red Union had been tempered by the tumultuous experience of revolutionary tours around the country and seeing Chairman Mao in the great rallies in Tiananmen Square.

Analysis: The story takes place during the Cultural Revolution, and the Red Union is a political product of that period. It is difficult for foreign readers to understand this term with Chinese characteristics. Therefore, the translator intentionally adds more background knowledge and information to cope with the cultural default, even though there is no additional explanation of the Red Society in the original text.

===Conclusion===
Inspired by feminist translation theories, translation scholarship is increasingly enriched with insights on gender consciousness reflected in the translation process. It is undeniable that feminist translation theory has made great contributions to promoting gender equality and empowering women under a male-centered social system. This paper analyzes some examples of the English translation of The Three Body Problem from the feminist translation theory. Through the above analysis, it is found that the translators Ken Liu and Joel Martinsen show a strong feminist consciousness in the translation process, using feminist translation strategies such as de-gendering, footnoting, supplementing and hijacking to avoid the contents that discriminate and dwarf female in the original work, effectively translate the Chinese characteristic vocabulary and produce high-quality translations.

===References===

*Chamberlain, L(1992). Gender and the Metaphorics of Translation. Lawrence Venuti (ed.). Rethinking Translation: Discourse, Subjectivity, Ideology. London&New York: Routledge.

*De Beauvoir, Simone(1956). The Second Sex[M]. London: Jonathan Cape,687

*Flotow, L. Feminist translation: Contexts, practices and theories.TTR. traduction terminologie, redaction, 4(2), 69-84.

*Flotow, L(2004). Translation and Gender: Translating in the “Era of Feminism”[M]. Shanghai: Shanghai Foreign Language Education Press.

*Ge Xiaoqin葛校琴(2003).女性主义翻译之本质[J].外国研究(6).

*Han Yunxia韩云霞(2007).从女性主义翻译研究角度看杨必《名利场》译本中译者女性身影的显现.山东大学.

*Lǚ Xiaofei吕晓菲(2006). 女性主义视角下女性译者的重写——兼评《紫颜色》两个中文译本[D].广东外语外贸大学.

*Liao Qiyi廖七一(2000).当代西方翻译理论探索[M].南京:译林出版社.

*Liao Qiyi廖七一(2002).重写神话：女性主义与翻译研究[J].四川外国语学院学报.(2)106-109

*Liu Yaru刘亚儒(2005).加拿大女性主义翻译理论的起源、发展和现状[J].天津外国语学院学报, (02):11-16.

*Mu Lei穆雷(2008).翻译研究中的性别视角[M]. 武昌:武汉大学出版社.

*Mu Lei穆雷(1999).心弦——女翻译家金圣华教授访谈录[J].中国翻译(2).

*Simon, Sherry(1996). Gender in Translation: Cultural Identity and the Politics of Transmission[M]. London&New York: Routledge, 158

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

20220630 Classics 2

2022-07-04T13:37:27Z

Liao Shiyun: /* Key words */

Back to course homepage: [[Chinese Classics Translation 2022]], back to final exam paper overview: [[20220630_Classics]]

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Classics_save]]

==This is the final exam paper website no. 1==

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103.
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

===References===
*Hall E T .(1976).Beyond Culture. chicago.

*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.

*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123.

*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.

*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh

*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.

*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.

*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.

*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28.

*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.

*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.

In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.
===Key words===
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation
===Introduction===
1.A Brief Introducation to William Somerset Maugham

William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.

As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on.

Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.

In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.

2.A Brief Introduction to The Moon and Sixpence

The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.

The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”

The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.

3.A Brief Introduction to the Translater and Translating Verisons

The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm.

Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.

Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.

===Literature Review===
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.

Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.

Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.

The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.

===Methods and Theories===
1.The Translator's Role in Traditional Translation Studies

From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.

The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.

1.The Translator’s subjectivity

Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)

2. Factors of Affecting Translator's Subjectivity

Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.

The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。

===Subtitle 1 Analysis on Translating Cases ===
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.

1.Translator's Subjectivity in Semantic Comprehension and Interpretation

In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:

（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)

傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）

陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）

李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）

In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.

Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.

Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.

2. Translation Strategies in the Choice of Translator’s Subjectivity

中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。

Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.

(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）

In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.

Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.

(3)He followed me, and entered the apartment on my heels.(P98)

傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)

陈译：他尾随我进入公寓。（P180）

李译：他跟在我身后，紧贴着我走进了房间。（P179）

The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.

Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.

3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance

Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.

(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)

傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)

陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)

李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)

According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."

The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.

Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.

4. Translator's Subjectivity in Language Style

As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:

(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)

傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）

陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）

李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）

This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.

===Conclusion===
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.

This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.

In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.

To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.
===References===
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp.
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center>

<center>Li Yuan</center>

===Abstract===

''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.

===Key words===

''The Art of War''; the science of communication; English translation; reception; inspiration

===Introduction===

''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).

Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).

Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.

===Literature Review===

By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).

Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).

The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.

===Communication Theory--Lasswell's "5W Model"===

The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:
Convenient way to describe an act of communication is to answer the following questions:
Who
Says What
In Which Channel
To Whom
With What Effect?
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).

This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation
process from the perspective of communication science.

===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===

The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.

First Phase: 1905 to the 1930s

The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).

Second Phase: the 1940s to the 1980s

One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.

Third phase: the 1990s to present

After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.

===Insights from Reception of English Translations of ''The Art of War'' in the West from the Perspective of Communication===

From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers.

Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.

===Conclusion===

''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.

===References===

*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.

*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.

*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.

*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.

*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.

*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

Feminist Translation Theory; ''The Three Body Problem''; translation strategies

===Introduction===
The Three Body Problem is a long sci-fi novel written by Liu Cixin, Chinese sci-fi author. In 2015, the English translation of the first book in the trilogy won the Hugo Award for Best Long Story Award given by the World Science Fiction Association at the 73rd World Science Fiction Conference in Spokane, Washington. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. The translator of the first book and the third book "Death's End" is Ken Liu, who is Chinese American. He is both a science fiction writer and a novel translator. The translator of the second book, The Dark Forest, is Joel Martinsen, an American translator who is a native English speaker. The popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation. Since its publication, "The Three Body Problem" has received much discussion in China due to its sexist sequences. How did it gain wide circulation and popularity in the Western countries that value gender equality? This paper will study the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory, and explore the gender consciousness and the subjectivity of the translators reflected in the translation.

===Literature Review===

The 21st century is an era where there are various modes of translation research, and Western countries has gained fruitful achievements in the study of translation theory. With the flourishing of feminism, translation research has undergone a major change, namely the "cultural turn" in the 1980s. In the 16th century, feminist thoughts emerged in England and France, which were leading the way in economic and social development. Feminist movements were carried out in society. In the second half of the 19th century and again in the 1950s, the feminist movement reached its peak. Feminist translation is one of the manifestations of the feminist movement in terms of discourse. Feminists pursued gender equality in literature and translation, creating a world of literature and translation that gave a voice to women. Subsequently, feminist translation theory first appeared on the historical stage. Sherry Simon, from a constructivist perspective, attempts to foreground the role of gender in translation, arguing that translation work simultaneously provokes and confuses the links between self and group, identity and alienation (Simon, 1996. 158). Simone De Beauvoir also argues that men and women explicitly affirm their brotherhood through their innate differences (De Beauvoir,1956:687).
Feminist translators believe that women have the same status as men and that translators have the same status as authors. They advocate translator subjectivity, and take gender factors as an important part of it. They believe that feminist translators can revise and rewrite the content of the original work that is not in line with feminism and discriminates against women. Luise Von Flotow, Canadian literary translator and translation theorist, published Translation and Gender:Translating in the “Era of Feminism” in 2004. This landmark work in feminist translation studies explains the relationship between translation and gender in terms of theory and practice, and explores three translation strategies commonly used by feminist translators, namely, prefaces and footnotes, supplements, and "hijacking."（Flotow, 2004:157）。
It is the tireless efforts of feminist translation researchers that have led to a major breakthrough in the field of translation studies. It has had a tremendous impact on people's traditional thinking, providing a new interpretation of translation studies and overturning the traditional translation principle of "fidelity". In short, feminist translation theory has continued to develop. People have begun to abandon traditional translation theories and strategies in order to completely eliminate discrimination against women and achieve gender equality.

The domestic translation circle started late in the study of feminist translation theory. In 1999, Mu Lei, a renowned female translator, first noticed that gender problem was an important factor in translation, in her writing Heartstrings—the Interview with Jin Shenghua published in Chinese Translation Journal (Mu 1999). In his book Explorations in Contemporary Western Translation Theory, Liao Qiyi first explored the influence of feminism on translation (Liao 2000). And in Re-write the myths: Feminism and translation studies, he tries to reveal the role played by the feminist critical paradigm in translation studies by analyzing examples (Liao 2002). Ge Xiaoqin, in her article "The Essence of Feminist Translation", summarizes the essence of feminist translation and its contribution to translation studies and cultural criticism and points out the epistemology, practice and methodology brought by feminist translation, by discussing the ideological origins of feminist translation(Ge 2003). It can be seen that the period between 1999 and 2003 was the initial stage of feminist translation theory. There was no more in-depth and comprehensive research yet. In 2004, Shanghai Foreign Language Education Press began to introduce Flotow's masterpiece, Translation and Gender-Translating in the ‘Era of Feminism’，marking a dramatic change in translation studies. Thus, the year of 2004 became a watershed year between the first and second phases, shaping the characteristics of feminist translation theory. It is necessary to mention the following masterpieces: In "The Origin, Development and Present Condition of Feminist Translation Theory in Canada," Liu Yaru examines the origin, development and present condition of Canadian feminist translation theory (Liu 2005)。In A Tentative Study on Women Translators’ Rewriting from the Perspective of Feminism—A Case Study of Two Chinese Translations of The Color Purple , Lü traces the gender metaphors in Western feminist translations from the perspective of cultural studies (Lü 2006). In 2004, the fourth issue of Chinese Translation Journal launched a column on "Feminist Translation Research", which included five representative papers. Since then, domestic research on feminist translation has been developing continuously. The number of articles on feminist translation theory has gradually increased. Articles introducing and discussing it from different perspectives enriches and develops feminist translation theory, and at the same time encourages more translation researchers to pay attention to the practical research of feminist translation theory and to use the theory to evaluate works, especially female translation works.

===Methods and Theories===
Feminist theory has brought to translation research not only a gender-conscious perspective, but a new mode of thinking and a different research direction. In addition to vigorously advocating women's voices and challenging the traditional conceptions of translation in the field, feminists also strive to motivate translators to take the initiative in the translation process and propose a female discourse based on gender identity. Many feminist scholars and translators have attempted to redefine the delicate relationship between the original text and the target text by completely overturning the traditional mainstream conceptions of translation theory. In terms of theoretical research and translation practice, Chamberlain(1992) explains that the central concept of feminist translation theory is the deconstruction of the original text in language and the elimination of gender discrimination. Therefore, it is necessary to strike a balance between translation and target text to reveal the essence of feminine consciousness. Therefore, it is necessary to strike a balance between translation and the target text to reveal the essence of feminine consciousness. In China, a group of scholars led by Mu Lei categorized the main principles of Western feminist translation scholars into four major categories: gender and translation, deconstructing "fidelity," emphasizing the importance of the translator's subjectivity, and rewriting in the name of feminine consciousness.

In feminist translation practice, the subjectivity of translators is reflected not only in the choice of texts, but also in the choice of translation strategies. Feminist translators firmly believe that translation is a political act, which provides them with ideological support for manipulating and interfering with the original text. Therefore, translation strategies are important for them to achieve their purposes, which can be mainly summarized as follows:

Prefaces and foodnotes

Prefaces and footnotes in translations is the most common means by which translators put feminist translation theory into practice. Footnotes, usually located at the bottom of each page of the translation, offer some explaination of the translation so that the reader can better understand certain details of the translation. A preface, usually added before the whole translation, is used to briefly describe the whole translation project, recount the general idea of the original text, and describe some special methods used by the translator in the translation process. In terms of the purpose of feminist translation, adding a footnote and adding a preface have something in common. They both aim to reflect the translator's thoughts on feminism, to promote the core values of feminism, to criticize the patriarchy's unequal behavior toward women, and to fight for more rights for women in general. Therefore, even if there is macho bullying of women in the original text, the translator does not hesitate to point it out and criticize it. In the implementation of these two approaches, the preface embodies the promotion of feminism as a whole, while the footnotes will show the deeper connotation of feminism in certain details.

De-gendering

De-gendering, or the "manipulation" of specific sexist expressions embedded in the original text (Han, 2007). This is a strategy often used by many feminist translators to make the image or voice of women visible. Because gender is an important component of feminism, feminist translators emphasize gender-conscious words, phrases, and sentences in their translations of the original text. De-gendering means replacing words such as "he" and "his" with "she" and "her" and phrases such as "man in office and power" with "man in office and power" in an attempt to avoid or reduce male discourse and introduce female words into the translation to highlight female subjectivity. In feminist translation, "man" or "he" is not the only word that refers to all people in general.

Supplementation

Adding to the target text in one certain part of the text is also an important method of feminist translation theory. In fact, this method is not unique to feminist translation, but is also common in many traditional translation practices. In order to eliminate the differences between two cultures, translators can make appropriate additions to better transform the original text into a translation, thus satisfying the reading habits and cultural needs of the target language readers.

Hijacking

If supplementation is a more moderate approach in feminist translation, hijacking is a very radical approach. Supplementation means that even though the supplemented content embodies the feminist character, translators still make appropriate and reasonable additions based on the semantics of the original. "Hijacking" is a feminist translation strategy proposed by Flotow. (Flotow.1991(2):69-84) "Hijacking" refers to the manipulation of a text by a female translator without changing the specific message of the original text in an attempt to gain new meaning. Feminist translators rewrite the text according to their own preferences and subjective intentions. They modify many masculine words, such as "woman and man" and "her or his". In order to highlight the position of women in the text and make their voices heard. Feminist translators have rewritten the language in a feminist way. This approach can be used to reduce or eliminate the sexism revealed in the original text by changing the vocabulary of the original text or even partially abridging the translation. The use of hijacking in translation projects has been the subject of much controversy. Opponents argue that it has deviated significantly from the original work and is inconsistent with the translation project itself, as well as with the author herself. Feminist translators argue that "hijacking" is not only a necessary translation method in translation projects, but also an important means for translators to reshape and recreate the original work.

===Brief Introduction of The Three Body Problem===
The Three Body series written by Liu Cixin consists of three parts, The Three Body Problem, The Dark Forest, and Death's End. It was published by Science Fiction World from 2006 to 2010. Based on the three-body problem, an intractable mystery in the field of physics, the series depicts from a macro perspective a vast universe where numerous civilizations exist, each vastly different from the other, yet facing similar survival choices. The author explores human nature in depth from the perspective of science fiction. With its grand layout and sublime meaning, the book has been hailed as the most outstanding science fiction novel in modern Chinese history. It was a turning point in the development of Chinese science fiction. The English translation of the novel was nominated for the 2014 Nebula Award of the Science Fiction and Fantasy Writers of America, and later won the 2015 Hugo Award for Best Long Story Award. This is the first time for an Asian to appear on the list of winners of the Hugo Awards. This is also an important step for Chinese science fiction to go global. It is considered a milestone for Chinese science fiction. In addition to the English translation, it has also been translated into nine languages, including Korean, Turkish, French, Spanish, German, Hungarian, and Vietnamese, showing the overseas influence of the book.

===Brief Introduction of the author and the translators===
Liu Cixin is a Chinese science fiction writer born in 1963. From 1999 to 2006, he won the Galaxy Award, China's most prestigious literary and scientific fiction award. And in 2015, he received the Hugo Award, becoming the first Asian writer to win this award. His representative works include the short story "Wandering Earth".

Ken Liuis a Chinese-American science fiction writer and translator, dedicated to writing science fiction and translating Chinese science fiction and literary stories. His first award-winning book, The Paper Menagerie, won the international awards including Nebula and Hugo Awards for literary works. He is responsible for the translation of the first and third books of The Three Body Series. The first English translation won the 2015 Hugo Award for Best Novel, and the third was shortlisted for the 2017 Hugo Award for Best Long Novel. He grew up in America, and was influenced and nurtured by gender equality, equality for all, and the gender equality movement from an early age. At the same time, Ken Liu's parents are Chinese who grew up in China. Therefore he was also influenced by Chinese culture from an early age. That enabled him to have a cultural and linguistic advantage in translating "The Three Body Problem".

Joel Martinsen is an American translator. He has focused on Chinese language and literature since he was provided with Chinese courses in high school. He had a Master degree in the Modern Chinese Literature at Beijing Normal University. As the translator of the second volume of The Three-Body, Martinsen is qualified enough for his academic background as well as a high Chinese language proficiency.

===A Case Study on the English Translation of The Three-Body Problem under Feminist Translation Theory===

Reading through The Tree Body Problem, it is easy to see that the entire work has a negative assessment of the female community, and discriminatory content against women is commonplace. Western society has always attached much importance to gender equality, at least to maintain political correctness. In order to make the work acceptable to readers in Western countries, optimize the reading experience and reduce their resistance, the translator's role is crucial. Ken Liu and Joel Martinsen have undoubtedly put in a lot of efforts to make The Three Body Problem win many awards in the World Science Fiction Literary Awards and gain the praise of many readers. In this section, a case study of the English translation of The Three Bodies will be presented from feminist translation theory.

De-gendering

Feminist translation emphasizes the subjectivity of the translator and proposes a "gender-neutral" concept of translation, aiming at eliminating gender discrimination in language and establishing a gender-equal language.

Example 1: 对于普通的女性，也许时间能够渐渐愈合这些创伤，毕竟，“文革“中有她这样遭遇的女性太多了，比起她们中的很多人，她算是幸运的。但叶文洁是一位科学女性。

Translation: For most people, perhaps time would have gradually healed these wounds. After all, during the Cultural Revolution, many people suffered fates similar to hers, and compared to many of them, Ye was relatively fortunate. But Ye had the mental habits of a scientist.

Analysis: In The Three Body Problem, female characters are always more negative than male characters. Female characters are always considered lucky rather than capable after they succeed in making something. The translator has a high degree of gender consciousness. The translator replaces the words “普通女性”,“女性”,“科学女性” with "people" and "scientist" in this sentence, so as to prevent gender discrimination and to reflect gender awareness.

Example 2: 那是最不可能令孩子，特别是女孩子入迷的音乐了
Translation: That was the kind of music that shouldn’t have mesmerized a kid.

Analysis: The original text implies that girls are less able to understand Bach's music than boys. In order to avoid gender discrimination by associating women with a particular trait, the translator changed the word "女孩子" to "kid" in the translation. The translator cannot recreate the characterization, but can de-genderize the language when dealing with sexist language.

Example 3: 菲律宾贡献给世界的第三个美女政治家，也是在这个职位上危机前后跨越两个时代的一位。
Translation: The administration of this Filipino politician had straddled the pre- and post-crisis eras.
分析：Ms. Sae was the first female Secretary-General of the United Nations, with a distinguished achievement of international negotiation and handling of international disputes. Ms. Sae's achievements are not related to her appearance, and if the adjective "beautiful" is used in the translation, it may lead to speculation and dissatisfaction among readers. The tone of the original text shows that women are not competent enough to take on important political roles or to lead the wars of the universe. This is a rigid perception and stereotype of women in society.

Hijacking
Feminist translators will downplay or remove strongly feminized depictions. Under a patriarchal society, women are seen as objects of appreciation. The male-centric consciousness is showed from patriarchal language that excessively focus on the depiction of women's appearance, bodies, etc. It reflects a prejudice of women, ignores their inner character and stifles their autonomous identity. For this reason, feminist translators actively exert the subjectivity of the translators, trying to break the center of male discourse and re-establish a positive and positive image of women.

Example 4: 美丽女孩双手托起晶亮的金属球，让人联想到身材苗条的艺术体操运动员，她露出那动人的笑，用悦耳的声音说。

Translation: The young woman raised the bright metal sphere before with both hands, as though she were getting ready to start a gymnastics routine. Smiling, she said…

Analysis: In the above example, there are some words and expressions of female description. In the ancient traditional gender ethics, women were always regarded as subordinate and subservient to men under the domination of a male-dominated society. But this traditional view has been severely criticized by modern feminists, who desire linguistic equality. In view of this, the translator has consciously cut down and modified the descriptions of feminine features. In particular, in the original text, descriptions such as "beautiful woman", "slim figure", and "sweet smile and voice" are absent from the translation, which to a certain extent weaken the sense of gender discrimination.

Example 5: 她像个小泼妇一样一天与那六个女人打好几次架
Translation: She fought the other women, sometimes several times a day.

Analysis：The word "泼妇" is a derogatory term used to describe women who is rude and unreasonable. Here, the translator has left this sexist word out of the translation. And the translation maintains a positive image of women.

Foodnote

Example 6:“你怎么又会有这种想法？那可并不一定，这是乱纪元。”追随者说着转向周文王，“姬昌，给我些鱼干吃吧。”
“不行！”周文王断然说道，“我也是勉强吃饱的，要保证我能走到朝歌，而不是你。”

Translation:”What makes you think that? There’s no way to be certain. I told you, this is a Chaotic Era.” Follower turned to King Wen. “May I have some dried fish?”
“Absolutely not,” King Wen’s tone brooked no disagreement, “I barely have enough for myself. We must guarantee that I make it to Zhao Ge, not you.

Translator’s note: Zhao Ge was the capital of Shang China, where King Zhou held court.

Analysis: The Three Body Problem is a science fiction novel in which the main character, Wang Miao, enters the physical world with the help of equipment and explores the game scenes himself. The reader does not know that the history of Warring States Period and the destination is "朝歌". Considering the lack of background information in the novel, the translator adds information to the text.

Example 7: 后来的事实证明她这次赌博是正确的，“文革”还没有结束，她的丈夫已经部分恢复了职位，十一届三中全会后，他迅速升到了副部级。

Translation: Her gamble paid off. Even before the end of the Cultural Revolution, her husband ws partially restored to his old position. After the Third Plenary Session of the Eleventh CPC Central Committee, he was soon promoted to the level of a deputy minister.

Translator’s note: This meeting marked the beginning of the “Reform and Opening up” policy and was seen as the moment when Deng Xiaoping became the leader of China.

Analysis: In the Chinese history, the Third Plenary Session of the Eleventh Central Committee of the Party is considered to be a turning point for China. Since the reform and opening up, Deng Xiaoping delivered an important speech at the Great Hall of the People, proposing a rapid shift in the focus of China's work to economic development and construction. More importantly, the conference played an important role in promoting social order and improving people's living standards. Foreign readers may have difficulty understanding this terminology. Therefore, additional information seems to be necessary.

Supplement

Cultural differences between the two languages determine the untranslatability of the literature. Therefore, the compensation of background knowledge and information is essential in the translation process. Supplement tries to achieve the same purpose as the preface and footnotes in a different way.

Example 10: “红色联合“的指挥官心急如焚，他并不惧怕大楼的守卫者，那二百多名“四.二八”战士，与诞生于1966年初、经历过大检阅和大串联的“红色联合”相比要稚嫩许多。

Translation: The Red Union commander was anxious, though not because of the defenders he faced. The more than two hundred Red Guards of the April Twenty-eight Brigade were mere greenhorns compared with the veteran Red Guards of the Red Union, which was formed at the start of the Great Proletarian Cultural Revolution in early 1966. The Red Union had been tempered by the tumultuous experience of revolutionary tours around the country and seeing Chairman Mao in the great rallies in Tiananmen Square.

Analysis: The story takes place during the Cultural Revolution, and the Red Union is a political product of that period. It is difficult for foreign readers to understand this term with Chinese characteristics. Therefore, the translator intentionally adds more background knowledge and information to cope with the cultural default, even though there is no additional explanation of the Red Society in the original text.

===Conclusion===
Inspired by feminist translation theories, translation scholarship is increasingly enriched with insights on gender consciousness reflected in the translation process. It is undeniable that feminist translation theory has made great contributions to promoting gender equality and empowering women under a male-centered social system. This paper analyzes some examples of the English translation of The Three Body Problem from the feminist translation theory. Through the above analysis, it is found that the translators Ken Liu and Joel Martinsen show a strong feminist consciousness in the translation process, using feminist translation strategies such as de-gendering, footnoting, supplementing and hijacking to avoid the contents that discriminate and dwarf female in the original work, effectively translate the Chinese characteristic vocabulary and produce high-quality translations.

===References===

*Chamberlain, L(1992). Gender and the Metaphorics of Translation. Lawrence Venuti (ed.). Rethinking Translation: Discourse, Subjectivity, Ideology. London&New York: Routledge.

*De Beauvoir, Simone(1956). The Second Sex[M]. London: Jonathan Cape,687

*Flotow, L. Feminist translation: Contexts, practices and theories.TTR. traduction terminologie, redaction, 4(2), 69-84.

*Flotow, L(2004). Translation and Gender: Translating in the “Era of Feminism”[M]. Shanghai: Shanghai Foreign Language Education Press.

*Ge Xiaoqin葛校琴(2003).女性主义翻译之本质[J].外国研究(6).

*Han Yunxia韩云霞(2007).从女性主义翻译研究角度看杨必《名利场》译本中译者女性身影的显现.山东大学.

*Lǚ Xiaofei吕晓菲(2006). 女性主义视角下女性译者的重写——兼评《紫颜色》两个中文译本[D].广东外语外贸大学.

*Liao Qiyi廖七一(2000).当代西方翻译理论探索[M].南京:译林出版社.

*Liao Qiyi廖七一(2002).重写神话：女性主义与翻译研究[J].四川外国语学院学报.(2)106-109

*Liu Yaru刘亚儒(2005).加拿大女性主义翻译理论的起源、发展和现状[J].天津外国语学院学报, (02):11-16.

*Mu Lei穆雷(2008).翻译研究中的性别视角[M]. 武昌:武汉大学出版社.

*Mu Lei穆雷(1999).心弦——女翻译家金圣华教授访谈录[J].中国翻译(2).

*Simon, Sherry(1996). Gender in Translation: Cultural Identity and the Politics of Transmission[M]. London&New York: Routledge, 158

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

20220630 Classics 2

2022-07-04T13:34:04Z

Liao Shiyun: /* Literature Review */

Back to course homepage: [[Chinese Classics Translation 2022]], back to final exam paper overview: [[20220630_Classics]]

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Classics_save]]

==This is the final exam paper website no. 1==

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103.
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

===References===
*Hall E T .(1976).Beyond Culture. chicago.

*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.

*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123.

*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.

*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh

*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.

*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.

*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.

*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28.

*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.

*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.

In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.
===Key words===
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation
===Introduction===
1.A Brief Introducation to William Somerset Maugham

William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.

As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on.

Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.

In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.

2.A Brief Introduction to The Moon and Sixpence

The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.

The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”

The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.

3.A Brief Introduction to the Translater and Translating Verisons

The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm.

Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.

Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.

===Literature Review===
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.

Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.

Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.

The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.

===Methods and Theories===
1.The Translator's Role in Traditional Translation Studies

From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.

The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.

1.The Translator’s subjectivity

Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)

2. Factors of Affecting Translator's Subjectivity

Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.

The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。

===Subtitle 1 Analysis on Translating Cases ===
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.

1.Translator's Subjectivity in Semantic Comprehension and Interpretation

In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:

（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)

傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）

陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）

李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）

In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.

Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.

Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.

2. Translation Strategies in the Choice of Translator’s Subjectivity

中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。

Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.

(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）

In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.

Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.

(3)He followed me, and entered the apartment on my heels.(P98)

傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)

陈译：他尾随我进入公寓。（P180）

李译：他跟在我身后，紧贴着我走进了房间。（P179）

The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.

Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.

3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance

Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.

(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)

傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)

陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)

李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)

According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."

The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.

Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.

4. Translator's Subjectivity in Language Style

As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:

(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)

傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）

陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）

李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）

This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.

===Conclusion===
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.

This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.

In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.

To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.
===References===
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp.
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center>

<center>Li Yuan</center>

===Abstract===

''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.

===Key words===

''The Art of War''; the science of communication; English translation; reception; inspiration

===Introduction===

''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).

Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).

Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.

===Literature Review===

By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).

Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).

The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.

===Communication Theory--Lasswell's "5W Model"===

The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:
Convenient way to describe an act of communication is to answer the following questions:
Who
Says What
In Which Channel
To Whom
With What Effect?
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).

This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation
process from the perspective of communication science.

===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===

The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.

First Phase: 1905 to the 1930s

The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).

Second Phase: the 1940s to the 1980s

One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.

Third phase: the 1990s to present

After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.

===Insights from Reception of English Translations of ''The Art of War'' in the West from the Perspective of Communication===

From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers.

Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.

===Conclusion===

''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.

===References===

*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.

*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.

*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.

*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.

*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.

*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===
The Three Body Problem is a long sci-fi novel written by Liu Cixin, Chinese sci-fi author. In 2015, the English translation of the first book in the trilogy won the Hugo Award for Best Long Story Award given by the World Science Fiction Association at the 73rd World Science Fiction Conference in Spokane, Washington. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. The translator of the first book and the third book "Death's End" is Ken Liu, who is Chinese American. He is both a science fiction writer and a novel translator. The translator of the second book, The Dark Forest, is Joel Martinsen, an American translator who is a native English speaker. The popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation. Since its publication, "The Three Body Problem" has received much discussion in China due to its sexist sequences. How did it gain wide circulation and popularity in the Western countries that value gender equality? This paper will study the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory, and explore the gender consciousness and the subjectivity of the translators reflected in the translation.

===Literature Review===

The 21st century is an era where there are various modes of translation research, and Western countries has gained fruitful achievements in the study of translation theory. With the flourishing of feminism, translation research has undergone a major change, namely the "cultural turn" in the 1980s. In the 16th century, feminist thoughts emerged in England and France, which were leading the way in economic and social development. Feminist movements were carried out in society. In the second half of the 19th century and again in the 1950s, the feminist movement reached its peak. Feminist translation is one of the manifestations of the feminist movement in terms of discourse. Feminists pursued gender equality in literature and translation, creating a world of literature and translation that gave a voice to women. Subsequently, feminist translation theory first appeared on the historical stage. Sherry Simon, from a constructivist perspective, attempts to foreground the role of gender in translation, arguing that translation work simultaneously provokes and confuses the links between self and group, identity and alienation (Simon, 1996. 158). Simone De Beauvoir also argues that men and women explicitly affirm their brotherhood through their innate differences (De Beauvoir,1956:687).
Feminist translators believe that women have the same status as men and that translators have the same status as authors. They advocate translator subjectivity, and take gender factors as an important part of it. They believe that feminist translators can revise and rewrite the content of the original work that is not in line with feminism and discriminates against women. Luise Von Flotow, Canadian literary translator and translation theorist, published Translation and Gender:Translating in the “Era of Feminism” in 2004. This landmark work in feminist translation studies explains the relationship between translation and gender in terms of theory and practice, and explores three translation strategies commonly used by feminist translators, namely, prefaces and footnotes, supplements, and "hijacking."（Flotow, 2004:157）。
It is the tireless efforts of feminist translation researchers that have led to a major breakthrough in the field of translation studies. It has had a tremendous impact on people's traditional thinking, providing a new interpretation of translation studies and overturning the traditional translation principle of "fidelity". In short, feminist translation theory has continued to develop. People have begun to abandon traditional translation theories and strategies in order to completely eliminate discrimination against women and achieve gender equality.

The domestic translation circle started late in the study of feminist translation theory. In 1999, Mu Lei, a renowned female translator, first noticed that gender problem was an important factor in translation, in her writing Heartstrings—the Interview with Jin Shenghua published in Chinese Translation Journal (Mu 1999). In his book Explorations in Contemporary Western Translation Theory, Liao Qiyi first explored the influence of feminism on translation (Liao 2000). And in Re-write the myths: Feminism and translation studies, he tries to reveal the role played by the feminist critical paradigm in translation studies by analyzing examples (Liao 2002). Ge Xiaoqin, in her article "The Essence of Feminist Translation", summarizes the essence of feminist translation and its contribution to translation studies and cultural criticism and points out the epistemology, practice and methodology brought by feminist translation, by discussing the ideological origins of feminist translation(Ge 2003). It can be seen that the period between 1999 and 2003 was the initial stage of feminist translation theory. There was no more in-depth and comprehensive research yet. In 2004, Shanghai Foreign Language Education Press began to introduce Flotow's masterpiece, Translation and Gender-Translating in the ‘Era of Feminism’，marking a dramatic change in translation studies. Thus, the year of 2004 became a watershed year between the first and second phases, shaping the characteristics of feminist translation theory. It is necessary to mention the following masterpieces: In "The Origin, Development and Present Condition of Feminist Translation Theory in Canada," Liu Yaru examines the origin, development and present condition of Canadian feminist translation theory (Liu 2005)。In A Tentative Study on Women Translators’ Rewriting from the Perspective of Feminism—A Case Study of Two Chinese Translations of The Color Purple , Lü traces the gender metaphors in Western feminist translations from the perspective of cultural studies (Lü 2006). In 2004, the fourth issue of Chinese Translation Journal launched a column on "Feminist Translation Research", which included five representative papers. Since then, domestic research on feminist translation has been developing continuously. The number of articles on feminist translation theory has gradually increased. Articles introducing and discussing it from different perspectives enriches and develops feminist translation theory, and at the same time encourages more translation researchers to pay attention to the practical research of feminist translation theory and to use the theory to evaluate works, especially female translation works.

===Methods and Theories===
Feminist theory has brought to translation research not only a gender-conscious perspective, but a new mode of thinking and a different research direction. In addition to vigorously advocating women's voices and challenging the traditional conceptions of translation in the field, feminists also strive to motivate translators to take the initiative in the translation process and propose a female discourse based on gender identity. Many feminist scholars and translators have attempted to redefine the delicate relationship between the original text and the target text by completely overturning the traditional mainstream conceptions of translation theory. In terms of theoretical research and translation practice, Chamberlain(1992) explains that the central concept of feminist translation theory is the deconstruction of the original text in language and the elimination of gender discrimination. Therefore, it is necessary to strike a balance between translation and target text to reveal the essence of feminine consciousness. Therefore, it is necessary to strike a balance between translation and the target text to reveal the essence of feminine consciousness. In China, a group of scholars led by Mu Lei categorized the main principles of Western feminist translation scholars into four major categories: gender and translation, deconstructing "fidelity," emphasizing the importance of the translator's subjectivity, and rewriting in the name of feminine consciousness.

In feminist translation practice, the subjectivity of translators is reflected not only in the choice of texts, but also in the choice of translation strategies. Feminist translators firmly believe that translation is a political act, which provides them with ideological support for manipulating and interfering with the original text. Therefore, translation strategies are important for them to achieve their purposes, which can be mainly summarized as follows:

Prefaces and foodnotes

Prefaces and footnotes in translations is the most common means by which translators put feminist translation theory into practice. Footnotes, usually located at the bottom of each page of the translation, offer some explaination of the translation so that the reader can better understand certain details of the translation. A preface, usually added before the whole translation, is used to briefly describe the whole translation project, recount the general idea of the original text, and describe some special methods used by the translator in the translation process. In terms of the purpose of feminist translation, adding a footnote and adding a preface have something in common. They both aim to reflect the translator's thoughts on feminism, to promote the core values of feminism, to criticize the patriarchy's unequal behavior toward women, and to fight for more rights for women in general. Therefore, even if there is macho bullying of women in the original text, the translator does not hesitate to point it out and criticize it. In the implementation of these two approaches, the preface embodies the promotion of feminism as a whole, while the footnotes will show the deeper connotation of feminism in certain details.

De-gendering

De-gendering, or the "manipulation" of specific sexist expressions embedded in the original text (Han, 2007). This is a strategy often used by many feminist translators to make the image or voice of women visible. Because gender is an important component of feminism, feminist translators emphasize gender-conscious words, phrases, and sentences in their translations of the original text. De-gendering means replacing words such as "he" and "his" with "she" and "her" and phrases such as "man in office and power" with "man in office and power" in an attempt to avoid or reduce male discourse and introduce female words into the translation to highlight female subjectivity. In feminist translation, "man" or "he" is not the only word that refers to all people in general.

Supplementation

Adding to the target text in one certain part of the text is also an important method of feminist translation theory. In fact, this method is not unique to feminist translation, but is also common in many traditional translation practices. In order to eliminate the differences between two cultures, translators can make appropriate additions to better transform the original text into a translation, thus satisfying the reading habits and cultural needs of the target language readers.

Hijacking

If supplementation is a more moderate approach in feminist translation, hijacking is a very radical approach. Supplementation means that even though the supplemented content embodies the feminist character, translators still make appropriate and reasonable additions based on the semantics of the original. "Hijacking" is a feminist translation strategy proposed by Flotow. (Flotow.1991(2):69-84) "Hijacking" refers to the manipulation of a text by a female translator without changing the specific message of the original text in an attempt to gain new meaning. Feminist translators rewrite the text according to their own preferences and subjective intentions. They modify many masculine words, such as "woman and man" and "her or his". In order to highlight the position of women in the text and make their voices heard. Feminist translators have rewritten the language in a feminist way. This approach can be used to reduce or eliminate the sexism revealed in the original text by changing the vocabulary of the original text or even partially abridging the translation. The use of hijacking in translation projects has been the subject of much controversy. Opponents argue that it has deviated significantly from the original work and is inconsistent with the translation project itself, as well as with the author herself. Feminist translators argue that "hijacking" is not only a necessary translation method in translation projects, but also an important means for translators to reshape and recreate the original work.

===Brief Introduction of The Three Body Problem===
The Three Body series written by Liu Cixin consists of three parts, The Three Body Problem, The Dark Forest, and Death's End. It was published by Science Fiction World from 2006 to 2010. Based on the three-body problem, an intractable mystery in the field of physics, the series depicts from a macro perspective a vast universe where numerous civilizations exist, each vastly different from the other, yet facing similar survival choices. The author explores human nature in depth from the perspective of science fiction. With its grand layout and sublime meaning, the book has been hailed as the most outstanding science fiction novel in modern Chinese history. It was a turning point in the development of Chinese science fiction. The English translation of the novel was nominated for the 2014 Nebula Award of the Science Fiction and Fantasy Writers of America, and later won the 2015 Hugo Award for Best Long Story Award. This is the first time for an Asian to appear on the list of winners of the Hugo Awards. This is also an important step for Chinese science fiction to go global. It is considered a milestone for Chinese science fiction. In addition to the English translation, it has also been translated into nine languages, including Korean, Turkish, French, Spanish, German, Hungarian, and Vietnamese, showing the overseas influence of the book.

===Brief Introduction of the author and the translators===
Liu Cixin is a Chinese science fiction writer born in 1963. From 1999 to 2006, he won the Galaxy Award, China's most prestigious literary and scientific fiction award. And in 2015, he received the Hugo Award, becoming the first Asian writer to win this award. His representative works include the short story "Wandering Earth".

Ken Liuis a Chinese-American science fiction writer and translator, dedicated to writing science fiction and translating Chinese science fiction and literary stories. His first award-winning book, The Paper Menagerie, won the international awards including Nebula and Hugo Awards for literary works. He is responsible for the translation of the first and third books of The Three Body Series. The first English translation won the 2015 Hugo Award for Best Novel, and the third was shortlisted for the 2017 Hugo Award for Best Long Novel. He grew up in America, and was influenced and nurtured by gender equality, equality for all, and the gender equality movement from an early age. At the same time, Ken Liu's parents are Chinese who grew up in China. Therefore he was also influenced by Chinese culture from an early age. That enabled him to have a cultural and linguistic advantage in translating "The Three Body Problem".

Joel Martinsen is an American translator. He has focused on Chinese language and literature since he was provided with Chinese courses in high school. He had a Master degree in the Modern Chinese Literature at Beijing Normal University. As the translator of the second volume of The Three-Body, Martinsen is qualified enough for his academic background as well as a high Chinese language proficiency.

===A Case Study on the English Translation of The Three-Body Problem under Feminist Translation Theory===

Reading through The Tree Body Problem, it is easy to see that the entire work has a negative assessment of the female community, and discriminatory content against women is commonplace. Western society has always attached much importance to gender equality, at least to maintain political correctness. In order to make the work acceptable to readers in Western countries, optimize the reading experience and reduce their resistance, the translator's role is crucial. Ken Liu and Joel Martinsen have undoubtedly put in a lot of efforts to make The Three Body Problem win many awards in the World Science Fiction Literary Awards and gain the praise of many readers. In this section, a case study of the English translation of The Three Bodies will be presented from feminist translation theory.

De-gendering

Feminist translation emphasizes the subjectivity of the translator and proposes a "gender-neutral" concept of translation, aiming at eliminating gender discrimination in language and establishing a gender-equal language.

Example 1: 对于普通的女性，也许时间能够渐渐愈合这些创伤，毕竟，“文革“中有她这样遭遇的女性太多了，比起她们中的很多人，她算是幸运的。但叶文洁是一位科学女性。

Translation: For most people, perhaps time would have gradually healed these wounds. After all, during the Cultural Revolution, many people suffered fates similar to hers, and compared to many of them, Ye was relatively fortunate. But Ye had the mental habits of a scientist.

Analysis: In The Three Body Problem, female characters are always more negative than male characters. Female characters are always considered lucky rather than capable after they succeed in making something. The translator has a high degree of gender consciousness. The translator replaces the words “普通女性”,“女性”,“科学女性” with "people" and "scientist" in this sentence, so as to prevent gender discrimination and to reflect gender awareness.

Example 2: 那是最不可能令孩子，特别是女孩子入迷的音乐了
Translation: That was the kind of music that shouldn’t have mesmerized a kid.

Analysis: The original text implies that girls are less able to understand Bach's music than boys. In order to avoid gender discrimination by associating women with a particular trait, the translator changed the word "女孩子" to "kid" in the translation. The translator cannot recreate the characterization, but can de-genderize the language when dealing with sexist language.

Example 3: 菲律宾贡献给世界的第三个美女政治家，也是在这个职位上危机前后跨越两个时代的一位。
Translation: The administration of this Filipino politician had straddled the pre- and post-crisis eras.
分析：Ms. Sae was the first female Secretary-General of the United Nations, with a distinguished achievement of international negotiation and handling of international disputes. Ms. Sae's achievements are not related to her appearance, and if the adjective "beautiful" is used in the translation, it may lead to speculation and dissatisfaction among readers. The tone of the original text shows that women are not competent enough to take on important political roles or to lead the wars of the universe. This is a rigid perception and stereotype of women in society.

Hijacking
Feminist translators will downplay or remove strongly feminized depictions. Under a patriarchal society, women are seen as objects of appreciation. The male-centric consciousness is showed from patriarchal language that excessively focus on the depiction of women's appearance, bodies, etc. It reflects a prejudice of women, ignores their inner character and stifles their autonomous identity. For this reason, feminist translators actively exert the subjectivity of the translators, trying to break the center of male discourse and re-establish a positive and positive image of women.

Example 4: 美丽女孩双手托起晶亮的金属球，让人联想到身材苗条的艺术体操运动员，她露出那动人的笑，用悦耳的声音说。

Translation: The young woman raised the bright metal sphere before with both hands, as though she were getting ready to start a gymnastics routine. Smiling, she said…

Analysis: In the above example, there are some words and expressions of female description. In the ancient traditional gender ethics, women were always regarded as subordinate and subservient to men under the domination of a male-dominated society. But this traditional view has been severely criticized by modern feminists, who desire linguistic equality. In view of this, the translator has consciously cut down and modified the descriptions of feminine features. In particular, in the original text, descriptions such as "beautiful woman", "slim figure", and "sweet smile and voice" are absent from the translation, which to a certain extent weaken the sense of gender discrimination.

Example 5: 她像个小泼妇一样一天与那六个女人打好几次架
Translation: She fought the other women, sometimes several times a day.

Analysis：The word "泼妇" is a derogatory term used to describe women who is rude and unreasonable. Here, the translator has left this sexist word out of the translation. And the translation maintains a positive image of women.

Foodnote

Example 6:“你怎么又会有这种想法？那可并不一定，这是乱纪元。”追随者说着转向周文王，“姬昌，给我些鱼干吃吧。”
“不行！”周文王断然说道，“我也是勉强吃饱的，要保证我能走到朝歌，而不是你。”

Translation:”What makes you think that? There’s no way to be certain. I told you, this is a Chaotic Era.” Follower turned to King Wen. “May I have some dried fish?”
“Absolutely not,” King Wen’s tone brooked no disagreement, “I barely have enough for myself. We must guarantee that I make it to Zhao Ge, not you.

Translator’s note: Zhao Ge was the capital of Shang China, where King Zhou held court.

Analysis: The Three Body Problem is a science fiction novel in which the main character, Wang Miao, enters the physical world with the help of equipment and explores the game scenes himself. The reader does not know that the history of Warring States Period and the destination is "朝歌". Considering the lack of background information in the novel, the translator adds information to the text.

Example 7: 后来的事实证明她这次赌博是正确的，“文革”还没有结束，她的丈夫已经部分恢复了职位，十一届三中全会后，他迅速升到了副部级。

Translation: Her gamble paid off. Even before the end of the Cultural Revolution, her husband ws partially restored to his old position. After the Third Plenary Session of the Eleventh CPC Central Committee, he was soon promoted to the level of a deputy minister.

Translator’s note: This meeting marked the beginning of the “Reform and Opening up” policy and was seen as the moment when Deng Xiaoping became the leader of China.

Analysis: In the Chinese history, the Third Plenary Session of the Eleventh Central Committee of the Party is considered to be a turning point for China. Since the reform and opening up, Deng Xiaoping delivered an important speech at the Great Hall of the People, proposing a rapid shift in the focus of China's work to economic development and construction. More importantly, the conference played an important role in promoting social order and improving people's living standards. Foreign readers may have difficulty understanding this terminology. Therefore, additional information seems to be necessary.

Supplement

Cultural differences between the two languages determine the untranslatability of the literature. Therefore, the compensation of background knowledge and information is essential in the translation process. Supplement tries to achieve the same purpose as the preface and footnotes in a different way.

Example 10: “红色联合“的指挥官心急如焚，他并不惧怕大楼的守卫者，那二百多名“四.二八”战士，与诞生于1966年初、经历过大检阅和大串联的“红色联合”相比要稚嫩许多。

Translation: The Red Union commander was anxious, though not because of the defenders he faced. The more than two hundred Red Guards of the April Twenty-eight Brigade were mere greenhorns compared with the veteran Red Guards of the Red Union, which was formed at the start of the Great Proletarian Cultural Revolution in early 1966. The Red Union had been tempered by the tumultuous experience of revolutionary tours around the country and seeing Chairman Mao in the great rallies in Tiananmen Square.

Analysis: The story takes place during the Cultural Revolution, and the Red Union is a political product of that period. It is difficult for foreign readers to understand this term with Chinese characteristics. Therefore, the translator intentionally adds more background knowledge and information to cope with the cultural default, even though there is no additional explanation of the Red Society in the original text.

===Conclusion===
Inspired by feminist translation theories, translation scholarship is increasingly enriched with insights on gender consciousness reflected in the translation process. It is undeniable that feminist translation theory has made great contributions to promoting gender equality and empowering women under a male-centered social system. This paper analyzes some examples of the English translation of The Three Body Problem from the feminist translation theory. Through the above analysis, it is found that the translators Ken Liu and Joel Martinsen show a strong feminist consciousness in the translation process, using feminist translation strategies such as de-gendering, footnoting, supplementing and hijacking to avoid the contents that discriminate and dwarf female in the original work, effectively translate the Chinese characteristic vocabulary and produce high-quality translations.

===References===

*Chamberlain, L(1992). Gender and the Metaphorics of Translation. Lawrence Venuti (ed.). Rethinking Translation: Discourse, Subjectivity, Ideology. London&New York: Routledge.

*De Beauvoir, Simone(1956). The Second Sex[M]. London: Jonathan Cape,687

*Flotow, L. Feminist translation: Contexts, practices and theories.TTR. traduction terminologie, redaction, 4(2), 69-84.

*Flotow, L(2004). Translation and Gender: Translating in the “Era of Feminism”[M]. Shanghai: Shanghai Foreign Language Education Press.

*Ge Xiaoqin葛校琴(2003).女性主义翻译之本质[J].外国研究(6).

*Han Yunxia韩云霞(2007).从女性主义翻译研究角度看杨必《名利场》译本中译者女性身影的显现.山东大学.

*Lǚ Xiaofei吕晓菲(2006). 女性主义视角下女性译者的重写——兼评《紫颜色》两个中文译本[D].广东外语外贸大学.

*Liao Qiyi廖七一(2000).当代西方翻译理论探索[M].南京:译林出版社.

*Liao Qiyi廖七一(2002).重写神话：女性主义与翻译研究[J].四川外国语学院学报.(2)106-109

*Liu Yaru刘亚儒(2005).加拿大女性主义翻译理论的起源、发展和现状[J].天津外国语学院学报, (02):11-16.

*Mu Lei穆雷(2008).翻译研究中的性别视角[M]. 武昌:武汉大学出版社.

*Mu Lei穆雷(1999).心弦——女翻译家金圣华教授访谈录[J].中国翻译(2).

*Simon, Sherry(1996). Gender in Translation: Cultural Identity and the Politics of Transmission[M]. London&New York: Routledge, 158

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

20220630 Classics 2

2022-07-04T13:32:00Z

Liao Shiyun: /* References */

Back to course homepage: [[Chinese Classics Translation 2022]], back to final exam paper overview: [[20220630_Classics]]

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Classics_save]]

==This is the final exam paper website no. 1==

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103.
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

===References===
*Hall E T .(1976).Beyond Culture. chicago.

*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.

*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123.

*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.

*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh

*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.

*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.

*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.

*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28.

*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.

*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.

In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.
===Key words===
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation
===Introduction===
1.A Brief Introducation to William Somerset Maugham

William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.

As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on.

Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.

In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.

2.A Brief Introduction to The Moon and Sixpence

The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.

The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”

The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.

3.A Brief Introduction to the Translater and Translating Verisons

The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm.

Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.

Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.

===Literature Review===
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.

Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.

Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.

The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.

===Methods and Theories===
1.The Translator's Role in Traditional Translation Studies

From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.

The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.

1.The Translator’s subjectivity

Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)

2. Factors of Affecting Translator's Subjectivity

Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.

The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。

===Subtitle 1 Analysis on Translating Cases ===
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.

1.Translator's Subjectivity in Semantic Comprehension and Interpretation

In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:

（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)

傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）

陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）

李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）

In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.

Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.

Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.

2. Translation Strategies in the Choice of Translator’s Subjectivity

中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。

Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.

(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）

In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.

Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.

(3)He followed me, and entered the apartment on my heels.(P98)

傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)

陈译：他尾随我进入公寓。（P180）

李译：他跟在我身后，紧贴着我走进了房间。（P179）

The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.

Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.

3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance

Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.

(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)

傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)

陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)

李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)

According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."

The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.

Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.

4. Translator's Subjectivity in Language Style

As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:

(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)

傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）

陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）

李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）

This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.

===Conclusion===
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.

This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.

In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.

To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.
===References===
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp.
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center>

<center>Li Yuan</center>

===Abstract===

''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.

===Key words===

''The Art of War''; the science of communication; English translation; reception; inspiration

===Introduction===

''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).

Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).

Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.

===Literature Review===

By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).

Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).

The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.

===Communication Theory--Lasswell's "5W Model"===

The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:
Convenient way to describe an act of communication is to answer the following questions:
Who
Says What
In Which Channel
To Whom
With What Effect?
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).

This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation
process from the perspective of communication science.

===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===

The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.

First Phase: 1905 to the 1930s

The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).

Second Phase: the 1940s to the 1980s

One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.

Third phase: the 1990s to present

After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.

===Insights from Reception of English Translations of ''The Art of War'' in the West from the Perspective of Communication===

From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers.

Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.

===Conclusion===

''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.

===References===

*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.

*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.

*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.

*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.

*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.

*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===
The Three Body Problem is a long sci-fi novel written by Liu Cixin, Chinese sci-fi author. In 2015, the English translation of the first book in the trilogy won the Hugo Award for Best Long Story Award given by the World Science Fiction Association at the 73rd World Science Fiction Conference in Spokane, Washington. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. The translator of the first book and the third book "Death's End" is Ken Liu, who is Chinese American. He is both a science fiction writer and a novel translator. The translator of the second book, The Dark Forest, is Joel Martinsen, an American translator who is a native English speaker. The popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation. Since its publication, "The Three Body Problem" has received much discussion in China due to its sexist sequences. How did it gain wide circulation and popularity in the Western countries that value gender equality? This paper will study the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory, and explore the gender consciousness and the subjectivity of the translators reflected in the translation.

===Literature Review===

The 21st century is an era where there are various modes of translation research, and Western countries has gained fruitful achievements in the study of translation theory. With the flourishing of feminism, translation research has undergone a major change, namely the "cultural turn" in the 1980s. In the 16th century, feminist thoughts emerged in England and France, which were leading the way in economic and social development. Feminist movements were carried out in society. In the second half of the 19th century and again in the 1950s, the feminist movement reached its peak. Feminist translation is one of the manifestations of the feminist movement in terms of discourse. Feminists pursued gender equality in literature and translation, creating a world of literature and translation that gave a voice to women. Subsequently, feminist translation theory first appeared on the historical stage. Sherry Simon, from a constructivist perspective, attempts to foreground the role of gender in translation, arguing that translation work simultaneously provokes and confuses the links between self and group, identity and alienation (Simon, 1996. 158). Simone De Beauvoir also argues that men and women explicitly affirm their brotherhood through their innate differences (De Beauvoir,1956:687).
Feminist translators believe that women have the same status as men and that translators have the same status as authors. They advocate translator subjectivity, and take gender factors as an important part of it. They believe that feminist translators can revise and rewrite the content of the original work that is not in line with feminism and discriminates against women. Luise Von Flotow, Canadian literary translator and translation theorist, published Translation and Gender:Translating in the “Era of Feminism” in 2004. This landmark work in feminist translation studies explains the relationship between translation and gender in terms of theory and practice, and explores three translation strategies commonly used by feminist translators, namely, prefaces and footnotes, supplements, and "hijacking."（Flotow, 2004:157）。
It is the tireless efforts of feminist translation researchers that have led to a major breakthrough in the field of translation studies. It has had a tremendous impact on people's traditional thinking, providing a new interpretation of translation studies and overturning the traditional translation principle of "fidelity". In short, feminist translation theory has continued to develop. People have begun to abandon traditional translation theories and strategies in order to completely eliminate discrimination against women and achieve gender equality.

The domestic translation circle started late in the study of feminist translation theory. In 1999, Mu Lei, a renowned female translator, first noticed that gender problem was an important factor in translation, in her writing Heartstrings—the Interview with Jin Shenghua published in Chinese Translation Journal (Mu Lei, 1999). In his book Explorations in Contemporary Western Translation Theory, Liao Qiyi first explored the influence of feminism on translation (Liao Qiyi, 2000). And in Re-write the myths: Feminism and translation studies, he tries to reveal the role played by the feminist critical paradigm in translation studies by analyzing examples (Liao Qiyi, 2002). Ge Xiaoqin, in her article "The Essence of Feminist Translation", summarizes the essence of feminist translation and its contribution to translation studies and cultural criticism and points out the epistemology, practice and methodology brought by feminist translation, by discussing the ideological origins of feminist translation(Ge Xiaoqin, 2003). It can be seen that the period between 1999 and 2003 was the initial stage of feminist translation theory. There was no more in-depth and comprehensive research yet. In 2004, Shanghai Foreign Language Education Press began to introduce Flotow's masterpiece, Translation and Gender-Translating in the ‘Era of Feminism’，marking a dramatic change in translation studies. Thus, the year of 2004 became a watershed year between the first and second phases, shaping the characteristics of feminist translation theory. It is necessary to mention the following masterpieces: In "The Origin, Development and Present Condition of Feminist Translation Theory in Canada," Liu Yaru examines the origin, development and present condition of Canadian feminist translation theory (Liu Yaru，2005)。In A Tentative Study on Women Translators’ Rewriting from the Perspective of Feminism—A Case Study of Two Chinese Translations of The Color Purple , Lü traces the gender metaphors in Western feminist translations from the perspective of cultural studies (Lü Xiaofei, 2006). In 2004, the fourth issue of Chinese Translation Journal launched a column on "Feminist Translation Research", which included five representative papers. Since then, domestic research on feminist translation has been developing continuously. The number of articles on feminist translation theory has gradually increased. Articles introducing and discussing it from different perspectives enriches and develops feminist translation theory, and at the same time encourages more translation researchers to pay attention to the practical research of feminist translation theory and to use the theory to evaluate works, especially female translation works.

===Methods and Theories===
Feminist theory has brought to translation research not only a gender-conscious perspective, but a new mode of thinking and a different research direction. In addition to vigorously advocating women's voices and challenging the traditional conceptions of translation in the field, feminists also strive to motivate translators to take the initiative in the translation process and propose a female discourse based on gender identity. Many feminist scholars and translators have attempted to redefine the delicate relationship between the original text and the target text by completely overturning the traditional mainstream conceptions of translation theory. In terms of theoretical research and translation practice, Chamberlain(1992) explains that the central concept of feminist translation theory is the deconstruction of the original text in language and the elimination of gender discrimination. Therefore, it is necessary to strike a balance between translation and target text to reveal the essence of feminine consciousness. Therefore, it is necessary to strike a balance between translation and the target text to reveal the essence of feminine consciousness. In China, a group of scholars led by Mu Lei categorized the main principles of Western feminist translation scholars into four major categories: gender and translation, deconstructing "fidelity," emphasizing the importance of the translator's subjectivity, and rewriting in the name of feminine consciousness.

In feminist translation practice, the subjectivity of translators is reflected not only in the choice of texts, but also in the choice of translation strategies. Feminist translators firmly believe that translation is a political act, which provides them with ideological support for manipulating and interfering with the original text. Therefore, translation strategies are important for them to achieve their purposes, which can be mainly summarized as follows:

Prefaces and foodnotes

Prefaces and footnotes in translations is the most common means by which translators put feminist translation theory into practice. Footnotes, usually located at the bottom of each page of the translation, offer some explaination of the translation so that the reader can better understand certain details of the translation. A preface, usually added before the whole translation, is used to briefly describe the whole translation project, recount the general idea of the original text, and describe some special methods used by the translator in the translation process. In terms of the purpose of feminist translation, adding a footnote and adding a preface have something in common. They both aim to reflect the translator's thoughts on feminism, to promote the core values of feminism, to criticize the patriarchy's unequal behavior toward women, and to fight for more rights for women in general. Therefore, even if there is macho bullying of women in the original text, the translator does not hesitate to point it out and criticize it. In the implementation of these two approaches, the preface embodies the promotion of feminism as a whole, while the footnotes will show the deeper connotation of feminism in certain details.

De-gendering

De-gendering, or the "manipulation" of specific sexist expressions embedded in the original text (Han, 2007). This is a strategy often used by many feminist translators to make the image or voice of women visible. Because gender is an important component of feminism, feminist translators emphasize gender-conscious words, phrases, and sentences in their translations of the original text. De-gendering means replacing words such as "he" and "his" with "she" and "her" and phrases such as "man in office and power" with "man in office and power" in an attempt to avoid or reduce male discourse and introduce female words into the translation to highlight female subjectivity. In feminist translation, "man" or "he" is not the only word that refers to all people in general.

Supplementation

Adding to the target text in one certain part of the text is also an important method of feminist translation theory. In fact, this method is not unique to feminist translation, but is also common in many traditional translation practices. In order to eliminate the differences between two cultures, translators can make appropriate additions to better transform the original text into a translation, thus satisfying the reading habits and cultural needs of the target language readers.

Hijacking

If supplementation is a more moderate approach in feminist translation, hijacking is a very radical approach. Supplementation means that even though the supplemented content embodies the feminist character, translators still make appropriate and reasonable additions based on the semantics of the original. "Hijacking" is a feminist translation strategy proposed by Flotow. (Flotow.1991(2):69-84) "Hijacking" refers to the manipulation of a text by a female translator without changing the specific message of the original text in an attempt to gain new meaning. Feminist translators rewrite the text according to their own preferences and subjective intentions. They modify many masculine words, such as "woman and man" and "her or his". In order to highlight the position of women in the text and make their voices heard. Feminist translators have rewritten the language in a feminist way. This approach can be used to reduce or eliminate the sexism revealed in the original text by changing the vocabulary of the original text or even partially abridging the translation. The use of hijacking in translation projects has been the subject of much controversy. Opponents argue that it has deviated significantly from the original work and is inconsistent with the translation project itself, as well as with the author herself. Feminist translators argue that "hijacking" is not only a necessary translation method in translation projects, but also an important means for translators to reshape and recreate the original work.

===Brief Introduction of The Three Body Problem===
The Three Body series written by Liu Cixin consists of three parts, The Three Body Problem, The Dark Forest, and Death's End. It was published by Science Fiction World from 2006 to 2010. Based on the three-body problem, an intractable mystery in the field of physics, the series depicts from a macro perspective a vast universe where numerous civilizations exist, each vastly different from the other, yet facing similar survival choices. The author explores human nature in depth from the perspective of science fiction. With its grand layout and sublime meaning, the book has been hailed as the most outstanding science fiction novel in modern Chinese history. It was a turning point in the development of Chinese science fiction. The English translation of the novel was nominated for the 2014 Nebula Award of the Science Fiction and Fantasy Writers of America, and later won the 2015 Hugo Award for Best Long Story Award. This is the first time for an Asian to appear on the list of winners of the Hugo Awards. This is also an important step for Chinese science fiction to go global. It is considered a milestone for Chinese science fiction. In addition to the English translation, it has also been translated into nine languages, including Korean, Turkish, French, Spanish, German, Hungarian, and Vietnamese, showing the overseas influence of the book.

===Brief Introduction of the author and the translators===
Liu Cixin is a Chinese science fiction writer born in 1963. From 1999 to 2006, he won the Galaxy Award, China's most prestigious literary and scientific fiction award. And in 2015, he received the Hugo Award, becoming the first Asian writer to win this award. His representative works include the short story "Wandering Earth".

Ken Liuis a Chinese-American science fiction writer and translator, dedicated to writing science fiction and translating Chinese science fiction and literary stories. His first award-winning book, The Paper Menagerie, won the international awards including Nebula and Hugo Awards for literary works. He is responsible for the translation of the first and third books of The Three Body Series. The first English translation won the 2015 Hugo Award for Best Novel, and the third was shortlisted for the 2017 Hugo Award for Best Long Novel. He grew up in America, and was influenced and nurtured by gender equality, equality for all, and the gender equality movement from an early age. At the same time, Ken Liu's parents are Chinese who grew up in China. Therefore he was also influenced by Chinese culture from an early age. That enabled him to have a cultural and linguistic advantage in translating "The Three Body Problem".

Joel Martinsen is an American translator. He has focused on Chinese language and literature since he was provided with Chinese courses in high school. He had a Master degree in the Modern Chinese Literature at Beijing Normal University. As the translator of the second volume of The Three-Body, Martinsen is qualified enough for his academic background as well as a high Chinese language proficiency.

===A Case Study on the English Translation of The Three-Body Problem under Feminist Translation Theory===

Reading through The Tree Body Problem, it is easy to see that the entire work has a negative assessment of the female community, and discriminatory content against women is commonplace. Western society has always attached much importance to gender equality, at least to maintain political correctness. In order to make the work acceptable to readers in Western countries, optimize the reading experience and reduce their resistance, the translator's role is crucial. Ken Liu and Joel Martinsen have undoubtedly put in a lot of efforts to make The Three Body Problem win many awards in the World Science Fiction Literary Awards and gain the praise of many readers. In this section, a case study of the English translation of The Three Bodies will be presented from feminist translation theory.

De-gendering

Feminist translation emphasizes the subjectivity of the translator and proposes a "gender-neutral" concept of translation, aiming at eliminating gender discrimination in language and establishing a gender-equal language.

Example 1: 对于普通的女性，也许时间能够渐渐愈合这些创伤，毕竟，“文革“中有她这样遭遇的女性太多了，比起她们中的很多人，她算是幸运的。但叶文洁是一位科学女性。

Translation: For most people, perhaps time would have gradually healed these wounds. After all, during the Cultural Revolution, many people suffered fates similar to hers, and compared to many of them, Ye was relatively fortunate. But Ye had the mental habits of a scientist.

Analysis: In The Three Body Problem, female characters are always more negative than male characters. Female characters are always considered lucky rather than capable after they succeed in making something. The translator has a high degree of gender consciousness. The translator replaces the words “普通女性”,“女性”,“科学女性” with "people" and "scientist" in this sentence, so as to prevent gender discrimination and to reflect gender awareness.

Example 2: 那是最不可能令孩子，特别是女孩子入迷的音乐了
Translation: That was the kind of music that shouldn’t have mesmerized a kid.

Analysis: The original text implies that girls are less able to understand Bach's music than boys. In order to avoid gender discrimination by associating women with a particular trait, the translator changed the word "女孩子" to "kid" in the translation. The translator cannot recreate the characterization, but can de-genderize the language when dealing with sexist language.

Example 3: 菲律宾贡献给世界的第三个美女政治家，也是在这个职位上危机前后跨越两个时代的一位。
Translation: The administration of this Filipino politician had straddled the pre- and post-crisis eras.
分析：Ms. Sae was the first female Secretary-General of the United Nations, with a distinguished achievement of international negotiation and handling of international disputes. Ms. Sae's achievements are not related to her appearance, and if the adjective "beautiful" is used in the translation, it may lead to speculation and dissatisfaction among readers. The tone of the original text shows that women are not competent enough to take on important political roles or to lead the wars of the universe. This is a rigid perception and stereotype of women in society.

Hijacking
Feminist translators will downplay or remove strongly feminized depictions. Under a patriarchal society, women are seen as objects of appreciation. The male-centric consciousness is showed from patriarchal language that excessively focus on the depiction of women's appearance, bodies, etc. It reflects a prejudice of women, ignores their inner character and stifles their autonomous identity. For this reason, feminist translators actively exert the subjectivity of the translators, trying to break the center of male discourse and re-establish a positive and positive image of women.

Example 4: 美丽女孩双手托起晶亮的金属球，让人联想到身材苗条的艺术体操运动员，她露出那动人的笑，用悦耳的声音说。

Translation: The young woman raised the bright metal sphere before with both hands, as though she were getting ready to start a gymnastics routine. Smiling, she said…

Analysis: In the above example, there are some words and expressions of female description. In the ancient traditional gender ethics, women were always regarded as subordinate and subservient to men under the domination of a male-dominated society. But this traditional view has been severely criticized by modern feminists, who desire linguistic equality. In view of this, the translator has consciously cut down and modified the descriptions of feminine features. In particular, in the original text, descriptions such as "beautiful woman", "slim figure", and "sweet smile and voice" are absent from the translation, which to a certain extent weaken the sense of gender discrimination.

Example 5: 她像个小泼妇一样一天与那六个女人打好几次架
Translation: She fought the other women, sometimes several times a day.

Analysis：The word "泼妇" is a derogatory term used to describe women who is rude and unreasonable. Here, the translator has left this sexist word out of the translation. And the translation maintains a positive image of women.

Foodnote

Example 6:“你怎么又会有这种想法？那可并不一定，这是乱纪元。”追随者说着转向周文王，“姬昌，给我些鱼干吃吧。”
“不行！”周文王断然说道，“我也是勉强吃饱的，要保证我能走到朝歌，而不是你。”

Translation:”What makes you think that? There’s no way to be certain. I told you, this is a Chaotic Era.” Follower turned to King Wen. “May I have some dried fish?”
“Absolutely not,” King Wen’s tone brooked no disagreement, “I barely have enough for myself. We must guarantee that I make it to Zhao Ge, not you.

Translator’s note: Zhao Ge was the capital of Shang China, where King Zhou held court.

Analysis: The Three Body Problem is a science fiction novel in which the main character, Wang Miao, enters the physical world with the help of equipment and explores the game scenes himself. The reader does not know that the history of Warring States Period and the destination is "朝歌". Considering the lack of background information in the novel, the translator adds information to the text.

Example 7: 后来的事实证明她这次赌博是正确的，“文革”还没有结束，她的丈夫已经部分恢复了职位，十一届三中全会后，他迅速升到了副部级。

Translation: Her gamble paid off. Even before the end of the Cultural Revolution, her husband ws partially restored to his old position. After the Third Plenary Session of the Eleventh CPC Central Committee, he was soon promoted to the level of a deputy minister.

Translator’s note: This meeting marked the beginning of the “Reform and Opening up” policy and was seen as the moment when Deng Xiaoping became the leader of China.

Analysis: In the Chinese history, the Third Plenary Session of the Eleventh Central Committee of the Party is considered to be a turning point for China. Since the reform and opening up, Deng Xiaoping delivered an important speech at the Great Hall of the People, proposing a rapid shift in the focus of China's work to economic development and construction. More importantly, the conference played an important role in promoting social order and improving people's living standards. Foreign readers may have difficulty understanding this terminology. Therefore, additional information seems to be necessary.

Supplement

Cultural differences between the two languages determine the untranslatability of the literature. Therefore, the compensation of background knowledge and information is essential in the translation process. Supplement tries to achieve the same purpose as the preface and footnotes in a different way.

Example 10: “红色联合“的指挥官心急如焚，他并不惧怕大楼的守卫者，那二百多名“四.二八”战士，与诞生于1966年初、经历过大检阅和大串联的“红色联合”相比要稚嫩许多。

Translation: The Red Union commander was anxious, though not because of the defenders he faced. The more than two hundred Red Guards of the April Twenty-eight Brigade were mere greenhorns compared with the veteran Red Guards of the Red Union, which was formed at the start of the Great Proletarian Cultural Revolution in early 1966. The Red Union had been tempered by the tumultuous experience of revolutionary tours around the country and seeing Chairman Mao in the great rallies in Tiananmen Square.

Analysis: The story takes place during the Cultural Revolution, and the Red Union is a political product of that period. It is difficult for foreign readers to understand this term with Chinese characteristics. Therefore, the translator intentionally adds more background knowledge and information to cope with the cultural default, even though there is no additional explanation of the Red Society in the original text.

===Conclusion===
Inspired by feminist translation theories, translation scholarship is increasingly enriched with insights on gender consciousness reflected in the translation process. It is undeniable that feminist translation theory has made great contributions to promoting gender equality and empowering women under a male-centered social system. This paper analyzes some examples of the English translation of The Three Body Problem from the feminist translation theory. Through the above analysis, it is found that the translators Ken Liu and Joel Martinsen show a strong feminist consciousness in the translation process, using feminist translation strategies such as de-gendering, footnoting, supplementing and hijacking to avoid the contents that discriminate and dwarf female in the original work, effectively translate the Chinese characteristic vocabulary and produce high-quality translations.

===References===

*Chamberlain, L(1992). Gender and the Metaphorics of Translation. Lawrence Venuti (ed.). Rethinking Translation: Discourse, Subjectivity, Ideology. London&New York: Routledge.

*De Beauvoir, Simone(1956). The Second Sex[M]. London: Jonathan Cape,687

*Flotow, L. Feminist translation: Contexts, practices and theories.TTR. traduction terminologie, redaction, 4(2), 69-84.

*Flotow, L(2004). Translation and Gender: Translating in the “Era of Feminism”[M]. Shanghai: Shanghai Foreign Language Education Press.

*Ge Xiaoqin葛校琴(2003).女性主义翻译之本质[J].外国研究(6).

*Han Yunxia韩云霞(2007).从女性主义翻译研究角度看杨必《名利场》译本中译者女性身影的显现.山东大学.

*Lǚ Xiaofei吕晓菲(2006). 女性主义视角下女性译者的重写——兼评《紫颜色》两个中文译本[D].广东外语外贸大学.

*Liao Qiyi廖七一(2000).当代西方翻译理论探索[M].南京:译林出版社.

*Liao Qiyi廖七一(2002).重写神话：女性主义与翻译研究[J].四川外国语学院学报.(2)106-109

*Liu Yaru刘亚儒(2005).加拿大女性主义翻译理论的起源、发展和现状[J].天津外国语学院学报, (02):11-16.

*Mu Lei穆雷(2008).翻译研究中的性别视角[M]. 武昌:武汉大学出版社.

*Mu Lei穆雷(1999).心弦——女翻译家金圣华教授访谈录[J].中国翻译(2).

*Simon, Sherry(1996). Gender in Translation: Cultural Identity and the Politics of Transmission[M]. London&New York: Routledge, 158

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

20220630 Classics 2

2022-07-04T13:23:54Z

Liao Shiyun: /* Conclusion */

Back to course homepage: [[Chinese Classics Translation 2022]], back to final exam paper overview: [[20220630_Classics]]

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Classics_save]]

==This is the final exam paper website no. 1==

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103.
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

===References===
*Hall E T .(1976).Beyond Culture. chicago.

*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.

*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123.

*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.

*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh

*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.

*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.

*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.

*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28.

*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.

*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.

In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.
===Key words===
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation
===Introduction===
1.A Brief Introducation to William Somerset Maugham

William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.

As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on.

Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.

In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.

2.A Brief Introduction to The Moon and Sixpence

The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.

The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”

The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.

3.A Brief Introduction to the Translater and Translating Verisons

The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm.

Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.

Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.

===Literature Review===
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.

Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.

Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.

The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.

===Methods and Theories===
1.The Translator's Role in Traditional Translation Studies

From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.

The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.

1.The Translator’s subjectivity

Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)

2. Factors of Affecting Translator's Subjectivity

Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.

The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。

===Subtitle 1 Analysis on Translating Cases ===
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.

1.Translator's Subjectivity in Semantic Comprehension and Interpretation

In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:

（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)

傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）

陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）

李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）

In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.

Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.

Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.

2. Translation Strategies in the Choice of Translator’s Subjectivity

中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。

Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.

(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）

In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.

Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.

(3)He followed me, and entered the apartment on my heels.(P98)

傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)

陈译：他尾随我进入公寓。（P180）

李译：他跟在我身后，紧贴着我走进了房间。（P179）

The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.

Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.

3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance

Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.

(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)

傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)

陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)

李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)

According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."

The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.

Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.

4. Translator's Subjectivity in Language Style

As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:

(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)

傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）

陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）

李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）

This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.

===Conclusion===
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.

This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.

In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.

To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.
===References===
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp.
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center>

<center>Li Yuan</center>

===Abstract===

''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.

===Key words===

''The Art of War''; the science of communication; English translation; reception; inspiration

===Introduction===

''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).

Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).

Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.

===Literature Review===

By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).

Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).

The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.

===Communication Theory--Lasswell's "5W Model"===

The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:
Convenient way to describe an act of communication is to answer the following questions:
Who
Says What
In Which Channel
To Whom
With What Effect?
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).

This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation
process from the perspective of communication science.

===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===

The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.

First Phase: 1905 to the 1930s

The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).

Second Phase: the 1940s to the 1980s

One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.

Third phase: the 1990s to present

After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.

===Insights from Reception of English Translations of ''The Art of War'' in the West from the Perspective of Communication===

From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers.

Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.

===Conclusion===

''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.

===References===

*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.

*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.

*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.

*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.

*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.

*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===
The Three Body Problem is a long sci-fi novel written by Liu Cixin, Chinese sci-fi author. In 2015, the English translation of the first book in the trilogy won the Hugo Award for Best Long Story Award given by the World Science Fiction Association at the 73rd World Science Fiction Conference in Spokane, Washington. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. The translator of the first book and the third book "Death's End" is Ken Liu, who is Chinese American. He is both a science fiction writer and a novel translator. The translator of the second book, The Dark Forest, is Joel Martinsen, an American translator who is a native English speaker. The popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation. Since its publication, "The Three Body Problem" has received much discussion in China due to its sexist sequences. How did it gain wide circulation and popularity in the Western countries that value gender equality? This paper will study the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory, and explore the gender consciousness and the subjectivity of the translators reflected in the translation.

===Literature Review===

The 21st century is an era where there are various modes of translation research, and Western countries has gained fruitful achievements in the study of translation theory. With the flourishing of feminism, translation research has undergone a major change, namely the "cultural turn" in the 1980s. In the 16th century, feminist thoughts emerged in England and France, which were leading the way in economic and social development. Feminist movements were carried out in society. In the second half of the 19th century and again in the 1950s, the feminist movement reached its peak. Feminist translation is one of the manifestations of the feminist movement in terms of discourse. Feminists pursued gender equality in literature and translation, creating a world of literature and translation that gave a voice to women. Subsequently, feminist translation theory first appeared on the historical stage. Sherry Simon, from a constructivist perspective, attempts to foreground the role of gender in translation, arguing that translation work simultaneously provokes and confuses the links between self and group, identity and alienation (Simon, 1996. 158). Simone De Beauvoir also argues that men and women explicitly affirm their brotherhood through their innate differences (De Beauvoir,1956:687).
Feminist translators believe that women have the same status as men and that translators have the same status as authors. They advocate translator subjectivity, and take gender factors as an important part of it. They believe that feminist translators can revise and rewrite the content of the original work that is not in line with feminism and discriminates against women. Luise Von Flotow, Canadian literary translator and translation theorist, published Translation and Gender:Translating in the “Era of Feminism” in 2004. This landmark work in feminist translation studies explains the relationship between translation and gender in terms of theory and practice, and explores three translation strategies commonly used by feminist translators, namely, prefaces and footnotes, supplements, and "hijacking."（Flotow, 2004:157）。
It is the tireless efforts of feminist translation researchers that have led to a major breakthrough in the field of translation studies. It has had a tremendous impact on people's traditional thinking, providing a new interpretation of translation studies and overturning the traditional translation principle of "fidelity". In short, feminist translation theory has continued to develop. People have begun to abandon traditional translation theories and strategies in order to completely eliminate discrimination against women and achieve gender equality.

The domestic translation circle started late in the study of feminist translation theory. In 1999, Mu Lei, a renowned female translator, first noticed that gender problem was an important factor in translation, in her writing Heartstrings—the Interview with Jin Shenghua published in Chinese Translation Journal (Mu Lei, 1999). In his book Explorations in Contemporary Western Translation Theory, Liao Qiyi first explored the influence of feminism on translation (Liao Qiyi, 2000). And in Re-write the myths: Feminism and translation studies, he tries to reveal the role played by the feminist critical paradigm in translation studies by analyzing examples (Liao Qiyi, 2002). Ge Xiaoqin, in her article "The Essence of Feminist Translation", summarizes the essence of feminist translation and its contribution to translation studies and cultural criticism and points out the epistemology, practice and methodology brought by feminist translation, by discussing the ideological origins of feminist translation(Ge Xiaoqin, 2003). It can be seen that the period between 1999 and 2003 was the initial stage of feminist translation theory. There was no more in-depth and comprehensive research yet. In 2004, Shanghai Foreign Language Education Press began to introduce Flotow's masterpiece, Translation and Gender-Translating in the ‘Era of Feminism’，marking a dramatic change in translation studies. Thus, the year of 2004 became a watershed year between the first and second phases, shaping the characteristics of feminist translation theory. It is necessary to mention the following masterpieces: In "The Origin, Development and Present Condition of Feminist Translation Theory in Canada," Liu Yaru examines the origin, development and present condition of Canadian feminist translation theory (Liu Yaru，2005)。In A Tentative Study on Women Translators’ Rewriting from the Perspective of Feminism—A Case Study of Two Chinese Translations of The Color Purple , Lü traces the gender metaphors in Western feminist translations from the perspective of cultural studies (Lü Xiaofei, 2006). In 2004, the fourth issue of Chinese Translation Journal launched a column on "Feminist Translation Research", which included five representative papers. Since then, domestic research on feminist translation has been developing continuously. The number of articles on feminist translation theory has gradually increased. Articles introducing and discussing it from different perspectives enriches and develops feminist translation theory, and at the same time encourages more translation researchers to pay attention to the practical research of feminist translation theory and to use the theory to evaluate works, especially female translation works.

===Methods and Theories===
Feminist theory has brought to translation research not only a gender-conscious perspective, but a new mode of thinking and a different research direction. In addition to vigorously advocating women's voices and challenging the traditional conceptions of translation in the field, feminists also strive to motivate translators to take the initiative in the translation process and propose a female discourse based on gender identity. Many feminist scholars and translators have attempted to redefine the delicate relationship between the original text and the target text by completely overturning the traditional mainstream conceptions of translation theory. In terms of theoretical research and translation practice, Chamberlain(1992) explains that the central concept of feminist translation theory is the deconstruction of the original text in language and the elimination of gender discrimination. Therefore, it is necessary to strike a balance between translation and target text to reveal the essence of feminine consciousness. Therefore, it is necessary to strike a balance between translation and the target text to reveal the essence of feminine consciousness. In China, a group of scholars led by Mu Lei categorized the main principles of Western feminist translation scholars into four major categories: gender and translation, deconstructing "fidelity," emphasizing the importance of the translator's subjectivity, and rewriting in the name of feminine consciousness.

In feminist translation practice, the subjectivity of translators is reflected not only in the choice of texts, but also in the choice of translation strategies. Feminist translators firmly believe that translation is a political act, which provides them with ideological support for manipulating and interfering with the original text. Therefore, translation strategies are important for them to achieve their purposes, which can be mainly summarized as follows:

Prefaces and foodnotes

Prefaces and footnotes in translations is the most common means by which translators put feminist translation theory into practice. Footnotes, usually located at the bottom of each page of the translation, offer some explaination of the translation so that the reader can better understand certain details of the translation. A preface, usually added before the whole translation, is used to briefly describe the whole translation project, recount the general idea of the original text, and describe some special methods used by the translator in the translation process. In terms of the purpose of feminist translation, adding a footnote and adding a preface have something in common. They both aim to reflect the translator's thoughts on feminism, to promote the core values of feminism, to criticize the patriarchy's unequal behavior toward women, and to fight for more rights for women in general. Therefore, even if there is macho bullying of women in the original text, the translator does not hesitate to point it out and criticize it. In the implementation of these two approaches, the preface embodies the promotion of feminism as a whole, while the footnotes will show the deeper connotation of feminism in certain details.

De-gendering

De-gendering, or the "manipulation" of specific sexist expressions embedded in the original text (Han, 2007). This is a strategy often used by many feminist translators to make the image or voice of women visible. Because gender is an important component of feminism, feminist translators emphasize gender-conscious words, phrases, and sentences in their translations of the original text. De-gendering means replacing words such as "he" and "his" with "she" and "her" and phrases such as "man in office and power" with "man in office and power" in an attempt to avoid or reduce male discourse and introduce female words into the translation to highlight female subjectivity. In feminist translation, "man" or "he" is not the only word that refers to all people in general.

Supplementation

Adding to the target text in one certain part of the text is also an important method of feminist translation theory. In fact, this method is not unique to feminist translation, but is also common in many traditional translation practices. In order to eliminate the differences between two cultures, translators can make appropriate additions to better transform the original text into a translation, thus satisfying the reading habits and cultural needs of the target language readers.

Hijacking

If supplementation is a more moderate approach in feminist translation, hijacking is a very radical approach. Supplementation means that even though the supplemented content embodies the feminist character, translators still make appropriate and reasonable additions based on the semantics of the original. "Hijacking" is a feminist translation strategy proposed by Flotow. (Flotow.1991(2):69-84) "Hijacking" refers to the manipulation of a text by a female translator without changing the specific message of the original text in an attempt to gain new meaning. Feminist translators rewrite the text according to their own preferences and subjective intentions. They modify many masculine words, such as "woman and man" and "her or his". In order to highlight the position of women in the text and make their voices heard. Feminist translators have rewritten the language in a feminist way. This approach can be used to reduce or eliminate the sexism revealed in the original text by changing the vocabulary of the original text or even partially abridging the translation. The use of hijacking in translation projects has been the subject of much controversy. Opponents argue that it has deviated significantly from the original work and is inconsistent with the translation project itself, as well as with the author herself. Feminist translators argue that "hijacking" is not only a necessary translation method in translation projects, but also an important means for translators to reshape and recreate the original work.

===Brief Introduction of The Three Body Problem===
The Three Body series written by Liu Cixin consists of three parts, The Three Body Problem, The Dark Forest, and Death's End. It was published by Science Fiction World from 2006 to 2010. Based on the three-body problem, an intractable mystery in the field of physics, the series depicts from a macro perspective a vast universe where numerous civilizations exist, each vastly different from the other, yet facing similar survival choices. The author explores human nature in depth from the perspective of science fiction. With its grand layout and sublime meaning, the book has been hailed as the most outstanding science fiction novel in modern Chinese history. It was a turning point in the development of Chinese science fiction. The English translation of the novel was nominated for the 2014 Nebula Award of the Science Fiction and Fantasy Writers of America, and later won the 2015 Hugo Award for Best Long Story Award. This is the first time for an Asian to appear on the list of winners of the Hugo Awards. This is also an important step for Chinese science fiction to go global. It is considered a milestone for Chinese science fiction. In addition to the English translation, it has also been translated into nine languages, including Korean, Turkish, French, Spanish, German, Hungarian, and Vietnamese, showing the overseas influence of the book.

===Brief Introduction of the author and the translators===
Liu Cixin is a Chinese science fiction writer born in 1963. From 1999 to 2006, he won the Galaxy Award, China's most prestigious literary and scientific fiction award. And in 2015, he received the Hugo Award, becoming the first Asian writer to win this award. His representative works include the short story "Wandering Earth".

Ken Liuis a Chinese-American science fiction writer and translator, dedicated to writing science fiction and translating Chinese science fiction and literary stories. His first award-winning book, The Paper Menagerie, won the international awards including Nebula and Hugo Awards for literary works. He is responsible for the translation of the first and third books of The Three Body Series. The first English translation won the 2015 Hugo Award for Best Novel, and the third was shortlisted for the 2017 Hugo Award for Best Long Novel. He grew up in America, and was influenced and nurtured by gender equality, equality for all, and the gender equality movement from an early age. At the same time, Ken Liu's parents are Chinese who grew up in China. Therefore he was also influenced by Chinese culture from an early age. That enabled him to have a cultural and linguistic advantage in translating "The Three Body Problem".

Joel Martinsen is an American translator. He has focused on Chinese language and literature since he was provided with Chinese courses in high school. He had a Master degree in the Modern Chinese Literature at Beijing Normal University. As the translator of the second volume of The Three-Body, Martinsen is qualified enough for his academic background as well as a high Chinese language proficiency.

===A Case Study on the English Translation of The Three-Body Problem under Feminist Translation Theory===

Reading through The Tree Body Problem, it is easy to see that the entire work has a negative assessment of the female community, and discriminatory content against women is commonplace. Western society has always attached much importance to gender equality, at least to maintain political correctness. In order to make the work acceptable to readers in Western countries, optimize the reading experience and reduce their resistance, the translator's role is crucial. Ken Liu and Joel Martinsen have undoubtedly put in a lot of efforts to make The Three Body Problem win many awards in the World Science Fiction Literary Awards and gain the praise of many readers. In this section, a case study of the English translation of The Three Bodies will be presented from feminist translation theory.

De-gendering

Feminist translation emphasizes the subjectivity of the translator and proposes a "gender-neutral" concept of translation, aiming at eliminating gender discrimination in language and establishing a gender-equal language.

Example 1: 对于普通的女性，也许时间能够渐渐愈合这些创伤，毕竟，“文革“中有她这样遭遇的女性太多了，比起她们中的很多人，她算是幸运的。但叶文洁是一位科学女性。

Translation: For most people, perhaps time would have gradually healed these wounds. After all, during the Cultural Revolution, many people suffered fates similar to hers, and compared to many of them, Ye was relatively fortunate. But Ye had the mental habits of a scientist.

Analysis: In The Three Body Problem, female characters are always more negative than male characters. Female characters are always considered lucky rather than capable after they succeed in making something. The translator has a high degree of gender consciousness. The translator replaces the words “普通女性”,“女性”,“科学女性” with "people" and "scientist" in this sentence, so as to prevent gender discrimination and to reflect gender awareness.

Example 2: 那是最不可能令孩子，特别是女孩子入迷的音乐了
Translation: That was the kind of music that shouldn’t have mesmerized a kid.

Analysis: The original text implies that girls are less able to understand Bach's music than boys. In order to avoid gender discrimination by associating women with a particular trait, the translator changed the word "女孩子" to "kid" in the translation. The translator cannot recreate the characterization, but can de-genderize the language when dealing with sexist language.

Example 3: 菲律宾贡献给世界的第三个美女政治家，也是在这个职位上危机前后跨越两个时代的一位。
Translation: The administration of this Filipino politician had straddled the pre- and post-crisis eras.
分析：Ms. Sae was the first female Secretary-General of the United Nations, with a distinguished achievement of international negotiation and handling of international disputes. Ms. Sae's achievements are not related to her appearance, and if the adjective "beautiful" is used in the translation, it may lead to speculation and dissatisfaction among readers. The tone of the original text shows that women are not competent enough to take on important political roles or to lead the wars of the universe. This is a rigid perception and stereotype of women in society.

Hijacking
Feminist translators will downplay or remove strongly feminized depictions. Under a patriarchal society, women are seen as objects of appreciation. The male-centric consciousness is showed from patriarchal language that excessively focus on the depiction of women's appearance, bodies, etc. It reflects a prejudice of women, ignores their inner character and stifles their autonomous identity. For this reason, feminist translators actively exert the subjectivity of the translators, trying to break the center of male discourse and re-establish a positive and positive image of women.

Example 4: 美丽女孩双手托起晶亮的金属球，让人联想到身材苗条的艺术体操运动员，她露出那动人的笑，用悦耳的声音说。

Translation: The young woman raised the bright metal sphere before with both hands, as though she were getting ready to start a gymnastics routine. Smiling, she said…

Analysis: In the above example, there are some words and expressions of female description. In the ancient traditional gender ethics, women were always regarded as subordinate and subservient to men under the domination of a male-dominated society. But this traditional view has been severely criticized by modern feminists, who desire linguistic equality. In view of this, the translator has consciously cut down and modified the descriptions of feminine features. In particular, in the original text, descriptions such as "beautiful woman", "slim figure", and "sweet smile and voice" are absent from the translation, which to a certain extent weaken the sense of gender discrimination.

Example 5: 她像个小泼妇一样一天与那六个女人打好几次架
Translation: She fought the other women, sometimes several times a day.

Analysis：The word "泼妇" is a derogatory term used to describe women who is rude and unreasonable. Here, the translator has left this sexist word out of the translation. And the translation maintains a positive image of women.

Foodnote

Example 6:“你怎么又会有这种想法？那可并不一定，这是乱纪元。”追随者说着转向周文王，“姬昌，给我些鱼干吃吧。”
“不行！”周文王断然说道，“我也是勉强吃饱的，要保证我能走到朝歌，而不是你。”

Translation:”What makes you think that? There’s no way to be certain. I told you, this is a Chaotic Era.” Follower turned to King Wen. “May I have some dried fish?”
“Absolutely not,” King Wen’s tone brooked no disagreement, “I barely have enough for myself. We must guarantee that I make it to Zhao Ge, not you.

Translator’s note: Zhao Ge was the capital of Shang China, where King Zhou held court.

Analysis: The Three Body Problem is a science fiction novel in which the main character, Wang Miao, enters the physical world with the help of equipment and explores the game scenes himself. The reader does not know that the history of Warring States Period and the destination is "朝歌". Considering the lack of background information in the novel, the translator adds information to the text.

Example 7: 后来的事实证明她这次赌博是正确的，“文革”还没有结束，她的丈夫已经部分恢复了职位，十一届三中全会后，他迅速升到了副部级。

Translation: Her gamble paid off. Even before the end of the Cultural Revolution, her husband ws partially restored to his old position. After the Third Plenary Session of the Eleventh CPC Central Committee, he was soon promoted to the level of a deputy minister.

Translator’s note: This meeting marked the beginning of the “Reform and Opening up” policy and was seen as the moment when Deng Xiaoping became the leader of China.

Analysis: In the Chinese history, the Third Plenary Session of the Eleventh Central Committee of the Party is considered to be a turning point for China. Since the reform and opening up, Deng Xiaoping delivered an important speech at the Great Hall of the People, proposing a rapid shift in the focus of China's work to economic development and construction. More importantly, the conference played an important role in promoting social order and improving people's living standards. Foreign readers may have difficulty understanding this terminology. Therefore, additional information seems to be necessary.

Supplement

Cultural differences between the two languages determine the untranslatability of the literature. Therefore, the compensation of background knowledge and information is essential in the translation process. Supplement tries to achieve the same purpose as the preface and footnotes in a different way.

Example 10: “红色联合“的指挥官心急如焚，他并不惧怕大楼的守卫者，那二百多名“四.二八”战士，与诞生于1966年初、经历过大检阅和大串联的“红色联合”相比要稚嫩许多。

Translation: The Red Union commander was anxious, though not because of the defenders he faced. The more than two hundred Red Guards of the April Twenty-eight Brigade were mere greenhorns compared with the veteran Red Guards of the Red Union, which was formed at the start of the Great Proletarian Cultural Revolution in early 1966. The Red Union had been tempered by the tumultuous experience of revolutionary tours around the country and seeing Chairman Mao in the great rallies in Tiananmen Square.

Analysis: The story takes place during the Cultural Revolution, and the Red Union is a political product of that period. It is difficult for foreign readers to understand this term with Chinese characteristics. Therefore, the translator intentionally adds more background knowledge and information to cope with the cultural default, even though there is no additional explanation of the Red Society in the original text.

===Conclusion===
Inspired by feminist translation theories, translation scholarship is increasingly enriched with insights on gender consciousness reflected in the translation process. It is undeniable that feminist translation theory has made great contributions to promoting gender equality and empowering women under a male-centered social system. This paper analyzes some examples of the English translation of The Three Body Problem from the feminist translation theory. Through the above analysis, it is found that the translators Ken Liu and Joel Martinsen show a strong feminist consciousness in the translation process, using feminist translation strategies such as de-gendering, footnoting, supplementing and hijacking to avoid the contents that discriminate and dwarf female in the original work, effectively translate the Chinese characteristic vocabulary and produce high-quality translations.

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

20220630 Classics 2

2022-07-04T13:22:20Z

Liao Shiyun: /* Subtitle 4 */

Back to course homepage: [[Chinese Classics Translation 2022]], back to final exam paper overview: [[20220630_Classics]]

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Classics_save]]

==This is the final exam paper website no. 1==

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103.
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

===References===
*Hall E T .(1976).Beyond Culture. chicago.

*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.

*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123.

*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.

*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh

*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.

*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.

*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.

*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28.

*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.

*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.

In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.
===Key words===
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation
===Introduction===
1.A Brief Introducation to William Somerset Maugham

William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.

As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on.

Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.

In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.

2.A Brief Introduction to The Moon and Sixpence

The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.

The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”

The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.

3.A Brief Introduction to the Translater and Translating Verisons

The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm.

Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.

Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.

===Literature Review===
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.

Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.

Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.

The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.

===Methods and Theories===
1.The Translator's Role in Traditional Translation Studies

From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.

The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.

1.The Translator’s subjectivity

Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)

2. Factors of Affecting Translator's Subjectivity

Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.

The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。

===Subtitle 1 Analysis on Translating Cases ===
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.

1.Translator's Subjectivity in Semantic Comprehension and Interpretation

In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:

（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)

傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）

陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）

李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）

In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.

Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.

Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.

2. Translation Strategies in the Choice of Translator’s Subjectivity

中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。

Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.

(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）

In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.

Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.

(3)He followed me, and entered the apartment on my heels.(P98)

傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)

陈译：他尾随我进入公寓。（P180）

李译：他跟在我身后，紧贴着我走进了房间。（P179）

The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.

Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.

3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance

Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.

(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)

傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)

陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)

李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)

According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."

The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.

Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.

4. Translator's Subjectivity in Language Style

As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:

(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)

傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）

陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）

李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）

This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.

===Conclusion===
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.

This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.

In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.

To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.
===References===
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp.
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center>

<center>Li Yuan</center>

===Abstract===

''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.

===Key words===

''The Art of War''; the science of communication; English translation; reception; inspiration

===Introduction===

''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).

Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).

Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.

===Literature Review===

By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).

Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).

The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.

===Communication Theory--Lasswell's "5W Model"===

The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:
Convenient way to describe an act of communication is to answer the following questions:
Who
Says What
In Which Channel
To Whom
With What Effect?
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).

This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation
process from the perspective of communication science.

===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===

The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.

First Phase: 1905 to the 1930s

The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).

Second Phase: the 1940s to the 1980s

One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.

Third phase: the 1990s to present

After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.

===Insights from Reception of English Translations of ''The Art of War'' in the West from the Perspective of Communication===

From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers.

Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.

===Conclusion===

''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.

===References===

*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.

*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.

*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.

*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.

*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.

*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===
The Three Body Problem is a long sci-fi novel written by Liu Cixin, Chinese sci-fi author. In 2015, the English translation of the first book in the trilogy won the Hugo Award for Best Long Story Award given by the World Science Fiction Association at the 73rd World Science Fiction Conference in Spokane, Washington. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. The translator of the first book and the third book "Death's End" is Ken Liu, who is Chinese American. He is both a science fiction writer and a novel translator. The translator of the second book, The Dark Forest, is Joel Martinsen, an American translator who is a native English speaker. The popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation. Since its publication, "The Three Body Problem" has received much discussion in China due to its sexist sequences. How did it gain wide circulation and popularity in the Western countries that value gender equality? This paper will study the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory, and explore the gender consciousness and the subjectivity of the translators reflected in the translation.

===Literature Review===

The 21st century is an era where there are various modes of translation research, and Western countries has gained fruitful achievements in the study of translation theory. With the flourishing of feminism, translation research has undergone a major change, namely the "cultural turn" in the 1980s. In the 16th century, feminist thoughts emerged in England and France, which were leading the way in economic and social development. Feminist movements were carried out in society. In the second half of the 19th century and again in the 1950s, the feminist movement reached its peak. Feminist translation is one of the manifestations of the feminist movement in terms of discourse. Feminists pursued gender equality in literature and translation, creating a world of literature and translation that gave a voice to women. Subsequently, feminist translation theory first appeared on the historical stage. Sherry Simon, from a constructivist perspective, attempts to foreground the role of gender in translation, arguing that translation work simultaneously provokes and confuses the links between self and group, identity and alienation (Simon, 1996. 158). Simone De Beauvoir also argues that men and women explicitly affirm their brotherhood through their innate differences (De Beauvoir,1956:687).
Feminist translators believe that women have the same status as men and that translators have the same status as authors. They advocate translator subjectivity, and take gender factors as an important part of it. They believe that feminist translators can revise and rewrite the content of the original work that is not in line with feminism and discriminates against women. Luise Von Flotow, Canadian literary translator and translation theorist, published Translation and Gender:Translating in the “Era of Feminism” in 2004. This landmark work in feminist translation studies explains the relationship between translation and gender in terms of theory and practice, and explores three translation strategies commonly used by feminist translators, namely, prefaces and footnotes, supplements, and "hijacking."（Flotow, 2004:157）。
It is the tireless efforts of feminist translation researchers that have led to a major breakthrough in the field of translation studies. It has had a tremendous impact on people's traditional thinking, providing a new interpretation of translation studies and overturning the traditional translation principle of "fidelity". In short, feminist translation theory has continued to develop. People have begun to abandon traditional translation theories and strategies in order to completely eliminate discrimination against women and achieve gender equality.

The domestic translation circle started late in the study of feminist translation theory. In 1999, Mu Lei, a renowned female translator, first noticed that gender problem was an important factor in translation, in her writing Heartstrings—the Interview with Jin Shenghua published in Chinese Translation Journal (Mu Lei, 1999). In his book Explorations in Contemporary Western Translation Theory, Liao Qiyi first explored the influence of feminism on translation (Liao Qiyi, 2000). And in Re-write the myths: Feminism and translation studies, he tries to reveal the role played by the feminist critical paradigm in translation studies by analyzing examples (Liao Qiyi, 2002). Ge Xiaoqin, in her article "The Essence of Feminist Translation", summarizes the essence of feminist translation and its contribution to translation studies and cultural criticism and points out the epistemology, practice and methodology brought by feminist translation, by discussing the ideological origins of feminist translation(Ge Xiaoqin, 2003). It can be seen that the period between 1999 and 2003 was the initial stage of feminist translation theory. There was no more in-depth and comprehensive research yet. In 2004, Shanghai Foreign Language Education Press began to introduce Flotow's masterpiece, Translation and Gender-Translating in the ‘Era of Feminism’，marking a dramatic change in translation studies. Thus, the year of 2004 became a watershed year between the first and second phases, shaping the characteristics of feminist translation theory. It is necessary to mention the following masterpieces: In "The Origin, Development and Present Condition of Feminist Translation Theory in Canada," Liu Yaru examines the origin, development and present condition of Canadian feminist translation theory (Liu Yaru，2005)。In A Tentative Study on Women Translators’ Rewriting from the Perspective of Feminism—A Case Study of Two Chinese Translations of The Color Purple , Lü traces the gender metaphors in Western feminist translations from the perspective of cultural studies (Lü Xiaofei, 2006). In 2004, the fourth issue of Chinese Translation Journal launched a column on "Feminist Translation Research", which included five representative papers. Since then, domestic research on feminist translation has been developing continuously. The number of articles on feminist translation theory has gradually increased. Articles introducing and discussing it from different perspectives enriches and develops feminist translation theory, and at the same time encourages more translation researchers to pay attention to the practical research of feminist translation theory and to use the theory to evaluate works, especially female translation works.

===Methods and Theories===
Feminist theory has brought to translation research not only a gender-conscious perspective, but a new mode of thinking and a different research direction. In addition to vigorously advocating women's voices and challenging the traditional conceptions of translation in the field, feminists also strive to motivate translators to take the initiative in the translation process and propose a female discourse based on gender identity. Many feminist scholars and translators have attempted to redefine the delicate relationship between the original text and the target text by completely overturning the traditional mainstream conceptions of translation theory. In terms of theoretical research and translation practice, Chamberlain(1992) explains that the central concept of feminist translation theory is the deconstruction of the original text in language and the elimination of gender discrimination. Therefore, it is necessary to strike a balance between translation and target text to reveal the essence of feminine consciousness. Therefore, it is necessary to strike a balance between translation and the target text to reveal the essence of feminine consciousness. In China, a group of scholars led by Mu Lei categorized the main principles of Western feminist translation scholars into four major categories: gender and translation, deconstructing "fidelity," emphasizing the importance of the translator's subjectivity, and rewriting in the name of feminine consciousness.

In feminist translation practice, the subjectivity of translators is reflected not only in the choice of texts, but also in the choice of translation strategies. Feminist translators firmly believe that translation is a political act, which provides them with ideological support for manipulating and interfering with the original text. Therefore, translation strategies are important for them to achieve their purposes, which can be mainly summarized as follows:

Prefaces and foodnotes

Prefaces and footnotes in translations is the most common means by which translators put feminist translation theory into practice. Footnotes, usually located at the bottom of each page of the translation, offer some explaination of the translation so that the reader can better understand certain details of the translation. A preface, usually added before the whole translation, is used to briefly describe the whole translation project, recount the general idea of the original text, and describe some special methods used by the translator in the translation process. In terms of the purpose of feminist translation, adding a footnote and adding a preface have something in common. They both aim to reflect the translator's thoughts on feminism, to promote the core values of feminism, to criticize the patriarchy's unequal behavior toward women, and to fight for more rights for women in general. Therefore, even if there is macho bullying of women in the original text, the translator does not hesitate to point it out and criticize it. In the implementation of these two approaches, the preface embodies the promotion of feminism as a whole, while the footnotes will show the deeper connotation of feminism in certain details.

De-gendering

De-gendering, or the "manipulation" of specific sexist expressions embedded in the original text (Han, 2007). This is a strategy often used by many feminist translators to make the image or voice of women visible. Because gender is an important component of feminism, feminist translators emphasize gender-conscious words, phrases, and sentences in their translations of the original text. De-gendering means replacing words such as "he" and "his" with "she" and "her" and phrases such as "man in office and power" with "man in office and power" in an attempt to avoid or reduce male discourse and introduce female words into the translation to highlight female subjectivity. In feminist translation, "man" or "he" is not the only word that refers to all people in general.

Supplementation

Adding to the target text in one certain part of the text is also an important method of feminist translation theory. In fact, this method is not unique to feminist translation, but is also common in many traditional translation practices. In order to eliminate the differences between two cultures, translators can make appropriate additions to better transform the original text into a translation, thus satisfying the reading habits and cultural needs of the target language readers.

Hijacking

If supplementation is a more moderate approach in feminist translation, hijacking is a very radical approach. Supplementation means that even though the supplemented content embodies the feminist character, translators still make appropriate and reasonable additions based on the semantics of the original. "Hijacking" is a feminist translation strategy proposed by Flotow. (Flotow.1991(2):69-84) "Hijacking" refers to the manipulation of a text by a female translator without changing the specific message of the original text in an attempt to gain new meaning. Feminist translators rewrite the text according to their own preferences and subjective intentions. They modify many masculine words, such as "woman and man" and "her or his". In order to highlight the position of women in the text and make their voices heard. Feminist translators have rewritten the language in a feminist way. This approach can be used to reduce or eliminate the sexism revealed in the original text by changing the vocabulary of the original text or even partially abridging the translation. The use of hijacking in translation projects has been the subject of much controversy. Opponents argue that it has deviated significantly from the original work and is inconsistent with the translation project itself, as well as with the author herself. Feminist translators argue that "hijacking" is not only a necessary translation method in translation projects, but also an important means for translators to reshape and recreate the original work.

===Brief Introduction of The Three Body Problem===
The Three Body series written by Liu Cixin consists of three parts, The Three Body Problem, The Dark Forest, and Death's End. It was published by Science Fiction World from 2006 to 2010. Based on the three-body problem, an intractable mystery in the field of physics, the series depicts from a macro perspective a vast universe where numerous civilizations exist, each vastly different from the other, yet facing similar survival choices. The author explores human nature in depth from the perspective of science fiction. With its grand layout and sublime meaning, the book has been hailed as the most outstanding science fiction novel in modern Chinese history. It was a turning point in the development of Chinese science fiction. The English translation of the novel was nominated for the 2014 Nebula Award of the Science Fiction and Fantasy Writers of America, and later won the 2015 Hugo Award for Best Long Story Award. This is the first time for an Asian to appear on the list of winners of the Hugo Awards. This is also an important step for Chinese science fiction to go global. It is considered a milestone for Chinese science fiction. In addition to the English translation, it has also been translated into nine languages, including Korean, Turkish, French, Spanish, German, Hungarian, and Vietnamese, showing the overseas influence of the book.

===Brief Introduction of the author and the translators===
Liu Cixin is a Chinese science fiction writer born in 1963. From 1999 to 2006, he won the Galaxy Award, China's most prestigious literary and scientific fiction award. And in 2015, he received the Hugo Award, becoming the first Asian writer to win this award. His representative works include the short story "Wandering Earth".

Ken Liuis a Chinese-American science fiction writer and translator, dedicated to writing science fiction and translating Chinese science fiction and literary stories. His first award-winning book, The Paper Menagerie, won the international awards including Nebula and Hugo Awards for literary works. He is responsible for the translation of the first and third books of The Three Body Series. The first English translation won the 2015 Hugo Award for Best Novel, and the third was shortlisted for the 2017 Hugo Award for Best Long Novel. He grew up in America, and was influenced and nurtured by gender equality, equality for all, and the gender equality movement from an early age. At the same time, Ken Liu's parents are Chinese who grew up in China. Therefore he was also influenced by Chinese culture from an early age. That enabled him to have a cultural and linguistic advantage in translating "The Three Body Problem".

Joel Martinsen is an American translator. He has focused on Chinese language and literature since he was provided with Chinese courses in high school. He had a Master degree in the Modern Chinese Literature at Beijing Normal University. As the translator of the second volume of The Three-Body, Martinsen is qualified enough for his academic background as well as a high Chinese language proficiency.

===A Case Study on the English Translation of The Three-Body Problem under Feminist Translation Theory===

Reading through The Tree Body Problem, it is easy to see that the entire work has a negative assessment of the female community, and discriminatory content against women is commonplace. Western society has always attached much importance to gender equality, at least to maintain political correctness. In order to make the work acceptable to readers in Western countries, optimize the reading experience and reduce their resistance, the translator's role is crucial. Ken Liu and Joel Martinsen have undoubtedly put in a lot of efforts to make The Three Body Problem win many awards in the World Science Fiction Literary Awards and gain the praise of many readers. In this section, a case study of the English translation of The Three Bodies will be presented from feminist translation theory.

De-gendering

Feminist translation emphasizes the subjectivity of the translator and proposes a "gender-neutral" concept of translation, aiming at eliminating gender discrimination in language and establishing a gender-equal language.

Example 1: 对于普通的女性，也许时间能够渐渐愈合这些创伤，毕竟，“文革“中有她这样遭遇的女性太多了，比起她们中的很多人，她算是幸运的。但叶文洁是一位科学女性。

Translation: For most people, perhaps time would have gradually healed these wounds. After all, during the Cultural Revolution, many people suffered fates similar to hers, and compared to many of them, Ye was relatively fortunate. But Ye had the mental habits of a scientist.

Analysis: In The Three Body Problem, female characters are always more negative than male characters. Female characters are always considered lucky rather than capable after they succeed in making something. The translator has a high degree of gender consciousness. The translator replaces the words “普通女性”,“女性”,“科学女性” with "people" and "scientist" in this sentence, so as to prevent gender discrimination and to reflect gender awareness.

Example 2: 那是最不可能令孩子，特别是女孩子入迷的音乐了
Translation: That was the kind of music that shouldn’t have mesmerized a kid.

Analysis: The original text implies that girls are less able to understand Bach's music than boys. In order to avoid gender discrimination by associating women with a particular trait, the translator changed the word "女孩子" to "kid" in the translation. The translator cannot recreate the characterization, but can de-genderize the language when dealing with sexist language.

Example 3: 菲律宾贡献给世界的第三个美女政治家，也是在这个职位上危机前后跨越两个时代的一位。
Translation: The administration of this Filipino politician had straddled the pre- and post-crisis eras.
分析：Ms. Sae was the first female Secretary-General of the United Nations, with a distinguished achievement of international negotiation and handling of international disputes. Ms. Sae's achievements are not related to her appearance, and if the adjective "beautiful" is used in the translation, it may lead to speculation and dissatisfaction among readers. The tone of the original text shows that women are not competent enough to take on important political roles or to lead the wars of the universe. This is a rigid perception and stereotype of women in society.

Hijacking
Feminist translators will downplay or remove strongly feminized depictions. Under a patriarchal society, women are seen as objects of appreciation. The male-centric consciousness is showed from patriarchal language that excessively focus on the depiction of women's appearance, bodies, etc. It reflects a prejudice of women, ignores their inner character and stifles their autonomous identity. For this reason, feminist translators actively exert the subjectivity of the translators, trying to break the center of male discourse and re-establish a positive and positive image of women.

Example 4: 美丽女孩双手托起晶亮的金属球，让人联想到身材苗条的艺术体操运动员，她露出那动人的笑，用悦耳的声音说。

Translation: The young woman raised the bright metal sphere before with both hands, as though she were getting ready to start a gymnastics routine. Smiling, she said…

Analysis: In the above example, there are some words and expressions of female description. In the ancient traditional gender ethics, women were always regarded as subordinate and subservient to men under the domination of a male-dominated society. But this traditional view has been severely criticized by modern feminists, who desire linguistic equality. In view of this, the translator has consciously cut down and modified the descriptions of feminine features. In particular, in the original text, descriptions such as "beautiful woman", "slim figure", and "sweet smile and voice" are absent from the translation, which to a certain extent weaken the sense of gender discrimination.

Example 5: 她像个小泼妇一样一天与那六个女人打好几次架
Translation: She fought the other women, sometimes several times a day.

Analysis：The word "泼妇" is a derogatory term used to describe women who is rude and unreasonable. Here, the translator has left this sexist word out of the translation. And the translation maintains a positive image of women.

Foodnote

Example 6:“你怎么又会有这种想法？那可并不一定，这是乱纪元。”追随者说着转向周文王，“姬昌，给我些鱼干吃吧。”
“不行！”周文王断然说道，“我也是勉强吃饱的，要保证我能走到朝歌，而不是你。”

Translation:”What makes you think that? There’s no way to be certain. I told you, this is a Chaotic Era.” Follower turned to King Wen. “May I have some dried fish?”
“Absolutely not,” King Wen’s tone brooked no disagreement, “I barely have enough for myself. We must guarantee that I make it to Zhao Ge, not you.

Translator’s note: Zhao Ge was the capital of Shang China, where King Zhou held court.

Analysis: The Three Body Problem is a science fiction novel in which the main character, Wang Miao, enters the physical world with the help of equipment and explores the game scenes himself. The reader does not know that the history of Warring States Period and the destination is "朝歌". Considering the lack of background information in the novel, the translator adds information to the text.

Example 7: 后来的事实证明她这次赌博是正确的，“文革”还没有结束，她的丈夫已经部分恢复了职位，十一届三中全会后，他迅速升到了副部级。

Translation: Her gamble paid off. Even before the end of the Cultural Revolution, her husband ws partially restored to his old position. After the Third Plenary Session of the Eleventh CPC Central Committee, he was soon promoted to the level of a deputy minister.

Translator’s note: This meeting marked the beginning of the “Reform and Opening up” policy and was seen as the moment when Deng Xiaoping became the leader of China.

Analysis: In the Chinese history, the Third Plenary Session of the Eleventh Central Committee of the Party is considered to be a turning point for China. Since the reform and opening up, Deng Xiaoping delivered an important speech at the Great Hall of the People, proposing a rapid shift in the focus of China's work to economic development and construction. More importantly, the conference played an important role in promoting social order and improving people's living standards. Foreign readers may have difficulty understanding this terminology. Therefore, additional information seems to be necessary.

Supplement

Cultural differences between the two languages determine the untranslatability of the literature. Therefore, the compensation of background knowledge and information is essential in the translation process. Supplement tries to achieve the same purpose as the preface and footnotes in a different way.

Example 10: “红色联合“的指挥官心急如焚，他并不惧怕大楼的守卫者，那二百多名“四.二八”战士，与诞生于1966年初、经历过大检阅和大串联的“红色联合”相比要稚嫩许多。

Translation: The Red Union commander was anxious, though not because of the defenders he faced. The more than two hundred Red Guards of the April Twenty-eight Brigade were mere greenhorns compared with the veteran Red Guards of the Red Union, which was formed at the start of the Great Proletarian Cultural Revolution in early 1966. The Red Union had been tempered by the tumultuous experience of revolutionary tours around the country and seeing Chairman Mao in the great rallies in Tiananmen Square.

Analysis: The story takes place during the Cultural Revolution, and the Red Union is a political product of that period. It is difficult for foreign readers to understand this term with Chinese characteristics. Therefore, the translator intentionally adds more background knowledge and information to cope with the cultural default, even though there is no additional explanation of the Red Society in the original text.

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

20220630 Classics 2

2022-07-04T13:21:41Z

Liao Shiyun: /* Subtitle 3 */

Back to course homepage: [[Chinese Classics Translation 2022]], back to final exam paper overview: [[20220630_Classics]]

Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Classics_save]]

==This is the final exam paper website no. 1==

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103.
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

===References===
*Hall E T .(1976).Beyond Culture. chicago.

*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.

*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123.

*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.

*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh

*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.

*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.

*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.

*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28.

*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.

*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.

In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.
===Key words===
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation
===Introduction===
1.A Brief Introducation to William Somerset Maugham

William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.

As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on.

Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.

In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.

2.A Brief Introduction to The Moon and Sixpence

The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.

The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”

The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.

3.A Brief Introduction to the Translater and Translating Verisons

The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm.

Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.

Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.

===Literature Review===
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.

Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.

Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.

The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.

===Methods and Theories===
1.The Translator's Role in Traditional Translation Studies

From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.

The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.

1.The Translator’s subjectivity

Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)

2. Factors of Affecting Translator's Subjectivity

Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.

The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。

===Subtitle 1 Analysis on Translating Cases ===
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.

1.Translator's Subjectivity in Semantic Comprehension and Interpretation

In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:

（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)

傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）

陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）

李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）

In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.

Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.

Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.

2. Translation Strategies in the Choice of Translator’s Subjectivity

中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。

Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.

(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）

In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.

Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.

(3)He followed me, and entered the apartment on my heels.(P98)

傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)

陈译：他尾随我进入公寓。（P180）

李译：他跟在我身后，紧贴着我走进了房间。（P179）

The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.

Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.

3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance

Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.

(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)

傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)

陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)

李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)

According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."

The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.

Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.

4. Translator's Subjectivity in Language Style

As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:

(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)

傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）

陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）

李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）

This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.

===Conclusion===
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.

This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.

In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.

To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.
===References===
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp.
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center>

<center>Li Yuan</center>

===Abstract===

''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.

===Key words===

''The Art of War''; the science of communication; English translation; reception; inspiration

===Introduction===

''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).

Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).

Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.

===Literature Review===

By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).

Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).

The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.

===Communication Theory--Lasswell's "5W Model"===

The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:
Convenient way to describe an act of communication is to answer the following questions:
Who
Says What
In Which Channel
To Whom
With What Effect?
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).

This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation
process from the perspective of communication science.

===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===

The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.

First Phase: 1905 to the 1930s

The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).

Second Phase: the 1940s to the 1980s

One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.

Third phase: the 1990s to present

After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.

===Insights from Reception of English Translations of ''The Art of War'' in the West from the Perspective of Communication===

From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers.

Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.

===Conclusion===

''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.

===References===

*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.

*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.

*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.

*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.

*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.

*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===
The Three Body Problem is a long sci-fi novel written by Liu Cixin, Chinese sci-fi author. In 2015, the English translation of the first book in the trilogy won the Hugo Award for Best Long Story Award given by the World Science Fiction Association at the 73rd World Science Fiction Conference in Spokane, Washington. That marks the first time that Chinese local science fiction novel has entered the international world and is recognized by the international community. The translator of the first book and the third book "Death's End" is Ken Liu, who is Chinese American. He is both a science fiction writer and a novel translator. The translator of the second book, The Dark Forest, is Joel Martinsen, an American translator who is a native English speaker. The popularity of the book Three Body Trilogy in the United States could not have been achieved without Liu Cixin's creation, and even more so without Ken Liu and Joel Martinsen's translation. Since its publication, "The Three Body Problem" has received much discussion in China due to its sexist sequences. How did it gain wide circulation and popularity in the Western countries that value gender equality? This paper will study the strategies and methods adopted by the translators in translating the novel from the perspective of feminist translation theory, and explore the gender consciousness and the subjectivity of the translators reflected in the translation.

===Literature Review===

The 21st century is an era where there are various modes of translation research, and Western countries has gained fruitful achievements in the study of translation theory. With the flourishing of feminism, translation research has undergone a major change, namely the "cultural turn" in the 1980s. In the 16th century, feminist thoughts emerged in England and France, which were leading the way in economic and social development. Feminist movements were carried out in society. In the second half of the 19th century and again in the 1950s, the feminist movement reached its peak. Feminist translation is one of the manifestations of the feminist movement in terms of discourse. Feminists pursued gender equality in literature and translation, creating a world of literature and translation that gave a voice to women. Subsequently, feminist translation theory first appeared on the historical stage. Sherry Simon, from a constructivist perspective, attempts to foreground the role of gender in translation, arguing that translation work simultaneously provokes and confuses the links between self and group, identity and alienation (Simon, 1996. 158). Simone De Beauvoir also argues that men and women explicitly affirm their brotherhood through their innate differences (De Beauvoir,1956:687).
Feminist translators believe that women have the same status as men and that translators have the same status as authors. They advocate translator subjectivity, and take gender factors as an important part of it. They believe that feminist translators can revise and rewrite the content of the original work that is not in line with feminism and discriminates against women. Luise Von Flotow, Canadian literary translator and translation theorist, published Translation and Gender:Translating in the “Era of Feminism” in 2004. This landmark work in feminist translation studies explains the relationship between translation and gender in terms of theory and practice, and explores three translation strategies commonly used by feminist translators, namely, prefaces and footnotes, supplements, and "hijacking."（Flotow, 2004:157）。
It is the tireless efforts of feminist translation researchers that have led to a major breakthrough in the field of translation studies. It has had a tremendous impact on people's traditional thinking, providing a new interpretation of translation studies and overturning the traditional translation principle of "fidelity". In short, feminist translation theory has continued to develop. People have begun to abandon traditional translation theories and strategies in order to completely eliminate discrimination against women and achieve gender equality.

The domestic translation circle started late in the study of feminist translation theory. In 1999, Mu Lei, a renowned female translator, first noticed that gender problem was an important factor in translation, in her writing Heartstrings—the Interview with Jin Shenghua published in Chinese Translation Journal (Mu Lei, 1999). In his book Explorations in Contemporary Western Translation Theory, Liao Qiyi first explored the influence of feminism on translation (Liao Qiyi, 2000). And in Re-write the myths: Feminism and translation studies, he tries to reveal the role played by the feminist critical paradigm in translation studies by analyzing examples (Liao Qiyi, 2002). Ge Xiaoqin, in her article "The Essence of Feminist Translation", summarizes the essence of feminist translation and its contribution to translation studies and cultural criticism and points out the epistemology, practice and methodology brought by feminist translation, by discussing the ideological origins of feminist translation(Ge Xiaoqin, 2003). It can be seen that the period between 1999 and 2003 was the initial stage of feminist translation theory. There was no more in-depth and comprehensive research yet. In 2004, Shanghai Foreign Language Education Press began to introduce Flotow's masterpiece, Translation and Gender-Translating in the ‘Era of Feminism’，marking a dramatic change in translation studies. Thus, the year of 2004 became a watershed year between the first and second phases, shaping the characteristics of feminist translation theory. It is necessary to mention the following masterpieces: In "The Origin, Development and Present Condition of Feminist Translation Theory in Canada," Liu Yaru examines the origin, development and present condition of Canadian feminist translation theory (Liu Yaru，2005)。In A Tentative Study on Women Translators’ Rewriting from the Perspective of Feminism—A Case Study of Two Chinese Translations of The Color Purple , Lü traces the gender metaphors in Western feminist translations from the perspective of cultural studies (Lü Xiaofei, 2006). In 2004, the fourth issue of Chinese Translation Journal launched a column on "Feminist Translation Research", which included five representative papers. Since then, domestic research on feminist translation has been developing continuously. The number of articles on feminist translation theory has gradually increased. Articles introducing and discussing it from different perspectives enriches and develops feminist translation theory, and at the same time encourages more translation researchers to pay attention to the practical research of feminist translation theory and to use the theory to evaluate works, especially female translation works.

===Methods and Theories===
Feminist theory has brought to translation research not only a gender-conscious perspective, but a new mode of thinking and a different research direction. In addition to vigorously advocating women's voices and challenging the traditional conceptions of translation in the field, feminists also strive to motivate translators to take the initiative in the translation process and propose a female discourse based on gender identity. Many feminist scholars and translators have attempted to redefine the delicate relationship between the original text and the target text by completely overturning the traditional mainstream conceptions of translation theory. In terms of theoretical research and translation practice, Chamberlain(1992) explains that the central concept of feminist translation theory is the deconstruction of the original text in language and the elimination of gender discrimination. Therefore, it is necessary to strike a balance between translation and target text to reveal the essence of feminine consciousness. Therefore, it is necessary to strike a balance between translation and the target text to reveal the essence of feminine consciousness. In China, a group of scholars led by Mu Lei categorized the main principles of Western feminist translation scholars into four major categories: gender and translation, deconstructing "fidelity," emphasizing the importance of the translator's subjectivity, and rewriting in the name of feminine consciousness.

In feminist translation practice, the subjectivity of translators is reflected not only in the choice of texts, but also in the choice of translation strategies. Feminist translators firmly believe that translation is a political act, which provides them with ideological support for manipulating and interfering with the original text. Therefore, translation strategies are important for them to achieve their purposes, which can be mainly summarized as follows:

Prefaces and foodnotes

Prefaces and footnotes in translations is the most common means by which translators put feminist translation theory into practice. Footnotes, usually located at the bottom of each page of the translation, offer some explaination of the translation so that the reader can better understand certain details of the translation. A preface, usually added before the whole translation, is used to briefly describe the whole translation project, recount the general idea of the original text, and describe some special methods used by the translator in the translation process. In terms of the purpose of feminist translation, adding a footnote and adding a preface have something in common. They both aim to reflect the translator's thoughts on feminism, to promote the core values of feminism, to criticize the patriarchy's unequal behavior toward women, and to fight for more rights for women in general. Therefore, even if there is macho bullying of women in the original text, the translator does not hesitate to point it out and criticize it. In the implementation of these two approaches, the preface embodies the promotion of feminism as a whole, while the footnotes will show the deeper connotation of feminism in certain details.

De-gendering

De-gendering, or the "manipulation" of specific sexist expressions embedded in the original text (Han, 2007). This is a strategy often used by many feminist translators to make the image or voice of women visible. Because gender is an important component of feminism, feminist translators emphasize gender-conscious words, phrases, and sentences in their translations of the original text. De-gendering means replacing words such as "he" and "his" with "she" and "her" and phrases such as "man in office and power" with "man in office and power" in an attempt to avoid or reduce male discourse and introduce female words into the translation to highlight female subjectivity. In feminist translation, "man" or "he" is not the only word that refers to all people in general.

Supplementation

Adding to the target text in one certain part of the text is also an important method of feminist translation theory. In fact, this method is not unique to feminist translation, but is also common in many traditional translation practices. In order to eliminate the differences between two cultures, translators can make appropriate additions to better transform the original text into a translation, thus satisfying the reading habits and cultural needs of the target language readers.

Hijacking

If supplementation is a more moderate approach in feminist translation, hijacking is a very radical approach. Supplementation means that even though the supplemented content embodies the feminist character, translators still make appropriate and reasonable additions based on the semantics of the original. "Hijacking" is a feminist translation strategy proposed by Flotow. (Flotow.1991(2):69-84) "Hijacking" refers to the manipulation of a text by a female translator without changing the specific message of the original text in an attempt to gain new meaning. Feminist translators rewrite the text according to their own preferences and subjective intentions. They modify many masculine words, such as "woman and man" and "her or his". In order to highlight the position of women in the text and make their voices heard. Feminist translators have rewritten the language in a feminist way. This approach can be used to reduce or eliminate the sexism revealed in the original text by changing the vocabulary of the original text or even partially abridging the translation. The use of hijacking in translation projects has been the subject of much controversy. Opponents argue that it has deviated significantly from the original work and is inconsistent with the translation project itself, as well as with the author herself. Feminist translators argue that "hijacking" is not only a necessary translation method in translation projects, but also an important means for translators to reshape and recreate the original work.

===Brief Introduction of The Three Body Problem===
The Three Body series written by Liu Cixin consists of three parts, The Three Body Problem, The Dark Forest, and Death's End. It was published by Science Fiction World from 2006 to 2010. Based on the three-body problem, an intractable mystery in the field of physics, the series depicts from a macro perspective a vast universe where numerous civilizations exist, each vastly different from the other, yet facing similar survival choices. The author explores human nature in depth from the perspective of science fiction. With its grand layout and sublime meaning, the book has been hailed as the most outstanding science fiction novel in modern Chinese history. It was a turning point in the development of Chinese science fiction. The English translation of the novel was nominated for the 2014 Nebula Award of the Science Fiction and Fantasy Writers of America, and later won the 2015 Hugo Award for Best Long Story Award. This is the first time for an Asian to appear on the list of winners of the Hugo Awards. This is also an important step for Chinese science fiction to go global. It is considered a milestone for Chinese science fiction. In addition to the English translation, it has also been translated into nine languages, including Korean, Turkish, French, Spanish, German, Hungarian, and Vietnamese, showing the overseas influence of the book.

===Brief Introduction of the author and the translators===
Liu Cixin is a Chinese science fiction writer born in 1963. From 1999 to 2006, he won the Galaxy Award, China's most prestigious literary and scientific fiction award. And in 2015, he received the Hugo Award, becoming the first Asian writer to win this award. His representative works include the short story "Wandering Earth".

Ken Liuis a Chinese-American science fiction writer and translator, dedicated to writing science fiction and translating Chinese science fiction and literary stories. His first award-winning book, The Paper Menagerie, won the international awards including Nebula and Hugo Awards for literary works. He is responsible for the translation of the first and third books of The Three Body Series. The first English translation won the 2015 Hugo Award for Best Novel, and the third was shortlisted for the 2017 Hugo Award for Best Long Novel. He grew up in America, and was influenced and nurtured by gender equality, equality for all, and the gender equality movement from an early age. At the same time, Ken Liu's parents are Chinese who grew up in China. Therefore he was also influenced by Chinese culture from an early age. That enabled him to have a cultural and linguistic advantage in translating "The Three Body Problem".

Joel Martinsen is an American translator. He has focused on Chinese language and literature since he was provided with Chinese courses in high school. He had a Master degree in the Modern Chinese Literature at Beijing Normal University. As the translator of the second volume of The Three-Body, Martinsen is qualified enough for his academic background as well as a high Chinese language proficiency.

===A Case Study on the English Translation of The Three-Body Problem under Feminist Translation Theory===

Reading through The Tree Body Problem, it is easy to see that the entire work has a negative assessment of the female community, and discriminatory content against women is commonplace. Western society has always attached much importance to gender equality, at least to maintain political correctness. In order to make the work acceptable to readers in Western countries, optimize the reading experience and reduce their resistance, the translator's role is crucial. Ken Liu and Joel Martinsen have undoubtedly put in a lot of efforts to make The Three Body Problem win many awards in the World Science Fiction Literary Awards and gain the praise of many readers. In this section, a case study of the English translation of The Three Bodies will be presented from feminist translation theory.

De-gendering

Feminist translation emphasizes the subjectivity of the translator and proposes a "gender-neutral" concept of translation, aiming at eliminating gender discrimination in language and establishing a gender-equal language.

Example 1: 对于普通的女性，也许时间能够渐渐愈合这些创伤，毕竟，“文革“中有她这样遭遇的女性太多了，比起她们中的很多人，她算是幸运的。但叶文洁是一位科学女性。

Translation: For most people, perhaps time would have gradually healed these wounds. After all, during the Cultural Revolution, many people suffered fates similar to hers, and compared to many of them, Ye was relatively fortunate. But Ye had the mental habits of a scientist.

Analysis: In The Three Body Problem, female characters are always more negative than male characters. Female characters are always considered lucky rather than capable after they succeed in making something. The translator has a high degree of gender consciousness. The translator replaces the words “普通女性”,“女性”,“科学女性” with "people" and "scientist" in this sentence, so as to prevent gender discrimination and to reflect gender awareness.

Example 2: 那是最不可能令孩子，特别是女孩子入迷的音乐了
Translation: That was the kind of music that shouldn’t have mesmerized a kid.

Analysis: The original text implies that girls are less able to understand Bach's music than boys. In order to avoid gender discrimination by associating women with a particular trait, the translator changed the word "女孩子" to "kid" in the translation. The translator cannot recreate the characterization, but can de-genderize the language when dealing with sexist language.

Example 3: 菲律宾贡献给世界的第三个美女政治家，也是在这个职位上危机前后跨越两个时代的一位。
Translation: The administration of this Filipino politician had straddled the pre- and post-crisis eras.
分析：Ms. Sae was the first female Secretary-General of the United Nations, with a distinguished achievement of international negotiation and handling of international disputes. Ms. Sae's achievements are not related to her appearance, and if the adjective "beautiful" is used in the translation, it may lead to speculation and dissatisfaction among readers. The tone of the original text shows that women are not competent enough to take on important political roles or to lead the wars of the universe. This is a rigid perception and stereotype of women in society.

Hijacking
Feminist translators will downplay or remove strongly feminized depictions. Under a patriarchal society, women are seen as objects of appreciation. The male-centric consciousness is showed from patriarchal language that excessively focus on the depiction of women's appearance, bodies, etc. It reflects a prejudice of women, ignores their inner character and stifles their autonomous identity. For this reason, feminist translators actively exert the subjectivity of the translators, trying to break the center of male discourse and re-establish a positive and positive image of women.

Example 4: 美丽女孩双手托起晶亮的金属球，让人联想到身材苗条的艺术体操运动员，她露出那动人的笑，用悦耳的声音说。

Translation: The young woman raised the bright metal sphere before with both hands, as though she were getting ready to start a gymnastics routine. Smiling, she said…

Analysis: In the above example, there are some words and expressions of female description. In the ancient traditional gender ethics, women were always regarded as subordinate and subservient to men under the domination of a male-dominated society. But this traditional view has been severely criticized by modern feminists, who desire linguistic equality. In view of this, the translator has consciously cut down and modified the descriptions of feminine features. In particular, in the original text, descriptions such as "beautiful woman", "slim figure", and "sweet smile and voice" are absent from the translation, which to a certain extent weaken the sense of gender discrimination.

Example 5: 她像个小泼妇一样一天与那六个女人打好几次架
Translation: She fought the other women, sometimes several times a day.

Analysis：The word "泼妇" is a derogatory term used to describe women who is rude and unreasonable. Here, the translator has left this sexist word out of the translation. And the translation maintains a positive image of women.

Foodnote

Example 6:“你怎么又会有这种想法？那可并不一定，这是乱纪元。”追随者说着转向周文王，“姬昌，给我些鱼干吃吧。”
“不行！”周文王断然说道，“我也是勉强吃饱的，要保证我能走到朝歌，而不是你。”

Translation:”What makes you think that? There’s no way to be certain. I told you, this is a Chaotic Era.” Follower turned to King Wen. “May I have some dried fish?”
“Absolutely not,” King Wen’s tone brooked no disagreement, “I barely have enough for myself. We must guarantee that I make it to Zhao Ge, not you.

Translator’s note: Zhao Ge was the capital of Shang China, where King Zhou held court.

Analysis: The Three Body Problem is a science fiction novel in which the main character, Wang Miao, enters the physical world with the help of equipment and explores the game scenes himself. The reader does not know that the history of Warring States Period and the destination is "朝歌". Considering the lack of background information in the novel, the translator adds information to the text.

Example 7: 后来的事实证明她这次赌博是正确的，“文革”还没有结束，她的丈夫已经部分恢复了职位，十一届三中全会后，他迅速升到了副部级。

Translation: Her gamble paid off. Even before the end of the Cultural Revolution, her husband ws partially restored to his old position. After the Third Plenary Session of the Eleventh CPC Central Committee, he was soon promoted to the level of a deputy minister.

Translator’s note: This meeting marked the beginning of the “Reform and Opening up” policy and was seen as the moment when Deng Xiaoping became the leader of China.

Analysis: In the Chinese history, the Third Plenary Session of the Eleventh Central Committee of the Party is considered to be a turning point for China. Since the reform and opening up, Deng Xiaoping delivered an important speech at the Great Hall of the People, proposing a rapid shift in the focus of China's work to economic development and construction. More importantly, the conference played an important role in promoting social order and improving people's living standards. Foreign readers may have difficulty understanding this terminology. Therefore, additional information seems to be necessary.

Supplement

Cultural differences between the two languages determine the untranslatability of the literature. Therefore, the compensation of background knowledge and information is essential in the translation process. Supplement tries to achieve the same purpose as the preface and footnotes in a different way.

Example 10: “红色联合“的指挥官心急如焚，他并不惧怕大楼的守卫者，那二百多名“四.二八”战士，与诞生于1966年初、经历过大检阅和大串联的“红色联合”相比要稚嫩许多。

Translation: The Red Union commander was anxious, though not because of the defenders he faced. The more than two hundred Red Guards of the April Twenty-eight Brigade were mere greenhorns compared with the veteran Red Guards of the Red Union, which was formed at the start of the Great Proletarian Cultural Revolution in early 1966. The Red Union had been tempered by the tumultuous experience of revolutionary tours around the country and seeing Chairman Mao in the great rallies in Tiananmen Square.

Analysis: The story takes place during the Cultural Revolution, and the Red Union is a political product of that period. It is difficult for foreign readers to understand this term with Chinese characteristics. Therefore, the translator intentionally adds more background knowledge and information to cope with the cultural default, even though there is no additional explanation of the Red Society in the original text.

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)