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		<title>20211229 homework</title>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘胜楠 Liú Shèngnán 翻译学 女 202120081506 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Mascara Jade Forest is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Precious Jade Merchant wrote &amp;quot;Pingping&amp;quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &amp;quot;introspection&amp;quot; is an abbreviation of &amp;quot;morning introspection&amp;quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.&lt;br /&gt;
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Marshgrass family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Marshgrass party has been all along the bully of Gold Mausoleum, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man  laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Rainvillage Merchant remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&amp;quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list, which contains the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:50, 30 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Rain-Village, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
At the same time, he took out a copy of &amp;quot;protecting official Fu&amp;quot; from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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&amp;quot;You probably know where the murderer is hiding? &amp;quot; The doorman smiled and said, &amp;quot;to tell you the truth, I know not only the direction the murderer is hiding, but also the people who was abducted. The dead ghost buyer also knows. Let me tell you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)&lt;br /&gt;
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Maybe you know the direction in which the murderer is hiding.&amp;quot;The doorman said with a smile: &amp;quot;I don't want to hide it from the master, not only I know the direction in which the murderer is hiding, but also I know the person who abducted it, and the buyer of the dead ghost knows it well. WLet me talk to you in detail:   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 08:55, 30 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?&amp;quot; Yu Cun replyed:&amp;quot;How should I know?&amp;quot; Menzi laughed coldly and said, &amp;quot;This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five, but why is she being sold recently?&amp;quot; Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Finally, Pity Zhen could  get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Rain Village Merchant says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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Rain Village Merchant said:&amp;quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&amp;quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;What the Lordship says is true, but it is not possible to do it in the world today. Don't you know what the ancients said: 'A great man moves with the times.' And they also say, 'A gentleman is a gentleman who tries to avoid bad luck. According to you, not only will you not be able to serve the court, but you will also not be able to protect yourself, so you should think twice.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:11, 30 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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Djia Yu-tsun bowed his head for half a day before saying, &amp;quot;What do you think?&amp;quot; Mencius said, &amp;quot;I have a very good idea here: Your Lordship will sit in the hall tomorrow, just bluff, move the papers and issue the signatures to take the people.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:09, 30 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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What about this plan, Master?&amp;quot; Yu Cun laughed, &amp;quot;No, it's not good. I'll have to think about it again, so that I can convince them.&amp;quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.&lt;br /&gt;
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Seeing  Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &amp;quot;things about your nephew has been finished, do not need to worry about&amp;quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;We should visit our relatives first during this trip to the capital Beijing. We can either go to your uncle‘s or your aunt‘s husband’s house because both of them are very spacious. Wouldn't it be better if we stay there for the moment and then send someone to clean up the house?&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:15, 30 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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Dragon Marshgrass said: &amp;quot;Now that uncle gets promoted to another province, it's only natural for the household to be bustling about. Wouldn't it be inconsiderate if we come to visit him at this particular moment?&amp;quot; His mother answered:&amp;quot; Be that as it may, we can still go to your aunt's husband's house.&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:33, 30 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated  to Lady King privately, &amp;quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)&lt;br /&gt;
Lady King knew that it was not difficult to solve this problem, thus agreeing to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was delicate , but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 11:30, 30 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
&lt;br /&gt;
There was another gate to the street, through which Dragon Marshgrass's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
There was another door leading to the street, and Dragon Marshgrass's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Lady King's main house. Every day, after dinner or in the evening, Aunt Marshgrass came over, chatting with Grandma Merchant, or narrating with Lady King.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
&lt;br /&gt;
During the day, Precious Hairpin Marshgrass was in peace with Mascara Jade Forest and her sister Pring Pleasure Merchant, reading a book, playing chess, or doing stitches. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
&lt;br /&gt;
During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
&lt;br /&gt;
at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
&lt;br /&gt;
Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Dragon Marshgrass is ten times worse than that day. Although Master Merchant correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Treasure Merchant, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
&lt;br /&gt;
Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Pear Fragrance Court is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
What will happen eventually? The monk in the ground temple will abuse the law.&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
&lt;br /&gt;
Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
&lt;br /&gt;
Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
&lt;br /&gt;
''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
女红：又作“女工”或“女功”。&lt;br /&gt;
&lt;br /&gt;
Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Female Red: also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
是指纺织、缝纫、刺绣等。&lt;br /&gt;
&lt;br /&gt;
Refers to textiles, sewing, embroidery, etc.  --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
which refers to textiles, sewing, embroidery, etc.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:27, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=135005</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=135005"/>
		<updated>2021-12-30T14:26:25Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘胜楠 Liú Shèngnán 翻译学 女 202120081506 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
&lt;br /&gt;
闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
&lt;br /&gt;
She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
&lt;br /&gt;
Granny Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Jia Baotou WE Precious Jade said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Granny Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
&lt;br /&gt;
Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because he asked, &amp;quot;has you ever went to school?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't go to school. I only studied for a year, so I can recognize a few words.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
&lt;br /&gt;
==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
&lt;br /&gt;
宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
&lt;br /&gt;
Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;Watch characters?&amp;quot; &amp;quot;No words,&amp;quot; Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
&lt;br /&gt;
Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;What's your courtesy name?&amp;quot; &amp;quot;I don't have a courtesy name&amp;quot; Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
&lt;br /&gt;
Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
&lt;br /&gt;
'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Seeking-Spring Merchant laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Precious Jade Merchant laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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Precious Jade laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin  inside the room of the partition door  temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides,Splendid Phoenix King had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Mascara Jade Forest had brought her old Wet Nurse -- Nanny King  and ten-year-old Snowgoose,who had also attended her since she was a child. Grandma Merchant considered Snowgoose too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and polly accompany Black Jade in green gauze room, Precious Jade Merchant’s nammy plumb and big maid  Aroma accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and  Nightingale accompany Mascara Jade Forest in green gauze room, Precious Jade Merchant’s Nanny Plum (Wet Nurse) and big maid  Aroma accompany on the big bed outside.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:19, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Aroma, whose real name is Pistil Ovule also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness then assigned her to Precious Jade Merchant, because Grandma Merchant coddled him and worried that his maid not work well. Precious Jade Merchant knew her last name was Hua (flower), and saw once verse that  “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant and then Pistil Ovule was named as Aroma.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Aroma, whose real name is Pistil Ovule, also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness, then assigned her to serve Precious Jade Merchant, for Grandma Merchant coddled him and worried that the maids of Precious Jade Merchant not professional.  Precious Jade Merchant knew her last name was Hua (flower), and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant. And then Pistil Ovule was named as Aroma.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Aroma is crazy: when seving Grandma Merchant, only Grandma Merchant is in her heart; now serving Precious Jade Merchant, there is only Precious Jade Merchant in her heart. Because of Precious Jade Merchant's perverse temperament, when Precious Jade Merchant doesn't listen to her advise, Aroma is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Aroma had several simple traits. While in attendance upon dowager Grandma Merchant, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Precious Jade Merchant, her heart and her eyes were again full of Precious Jade Merchant, and him alone. But as Precious Jade Merchant was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers, Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Mascara Jade at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers,Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, Miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Mascara Jade at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Mascara Jade Forest said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. &amp;quot;Dai Yu said: &amp;quot;Sisters said, I just remember. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
After narrating for a while, he rested. Woke up the next morning, saved Grandma Merchant, because he came to Lady King. Just as  Lady King and Splendid Phoenix King were at the same place to tear down the letter from Jinling, and two daughters-in-law of LadyKing's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)&lt;br /&gt;
After a little more conversation, we rested. I got up early to pass Jia Mother, because I was going to the king's wife. When Lady Wang and Xifeng in a letter to open jinling, and lady Wang's brother and sister-in-law sent to the two children to talk.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:04, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Mascara Jade Forest did not know the exact cause, Tanchun and other know are to discuss Jinling City, the son of his Aunt Marshgrass, cousin Goldish Osmanthus leaning on wealth and power, killing people, and now God Promise Mansion case under trial. Now, uncle Soar King got the letter, sent to tell this side, intends to call the intention of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:51, 29 December 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:56, 29 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. “Di”—it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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Here these refer to the people or the things needing caring.&lt;br /&gt;
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Seeking-Spring Merchant. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Seeking-Spring Merchant'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Seeking-Spring Merchant has a great elegant temperament.&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of  Cherishing Spring Merchant.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Seeking-Spring Merchant's elegance.The two sentences containing “ the third” — are the image depiction of Cherishing Spring Merchant.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe Cherishing Spring Merchant, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng tonic bolus- A pill made of ginseng, angelica, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Cherishing Spring Merchant, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]&lt;br /&gt;
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The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is &amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Northchen&amp;quot;, is the Polaris, which was the alternative name of the emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Chu Hsi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
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Yu asked and replied, &amp;quot;This is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. ​The two sentences of &amp;quot;inverted image&amp;quot; seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Precious Jade Merchant's incarnation Shenying waiter watered Mascara Jade Forest's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Precious Jade Merchant said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing&amp;quot;, &amp;quot;The New Language of the World&amp;quot; (世說新語容止):&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
&amp;quot;Uncle He Ping's face is white and beautiful.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
Translation : Weiming Siuyuy Full, Full Day, with hot soup.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
Both, but sweat, to Zhu Jiazi, the color turned. &amp;quot;&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=135004</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=135004"/>
		<updated>2021-12-30T14:25:13Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:26, 30 December 2021 (UTC)&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': &amp;quot;''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': &amp;quot;The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons  in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:18, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Rainvillage Merchant, turning round in a hurry, perceived that the speaker was no other than a certain Chang Rugui, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Rainvillage Merchant, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Rainvillage Merchant, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Rainvillage Merchant.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:42, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Rainvillage Merchant was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Rainvillage Merchant to request Lin Ju-hai, then, in his turn, to appeal to Master Merchant in the capital for support.Rainvillage Merchant accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:45, 29 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Rainvillage Merchant bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Lin Ju-hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng (Master Jia), his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Rainvillage Merchant had believed the words of Lëng Dsï-hsing yesterday, therefore, he thanked Lin Ju-hai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ju-hai  also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Rain-Village obeyed,and was very satisfied . Ju-hai then took some gifts and walked away, and Rain-Village took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said to Ju-hai: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Mascara Jade Forest heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Mascara Jade Forest.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Master Jia had seen his brother-in-law's letter, immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Master Jia had received  his brother-in-law's letter, he immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Gold Mausoleum of God Promise Mansion, resigned from Master Jia, and left for his post on a certain day. Now, when Mascara Jade Forest abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)&lt;br /&gt;
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They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Gold Mausoleum of God Promise Mansion, resigned from Master Jia，and left for his post on a certain day. Now, when Mascara Jade Forest disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Mascara Jade Forest heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ning-guo-Anwesen&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Lin Dai-yü thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Mascara Jade Forest out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Mascara Jade Forest out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Forest is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, &amp;quot;The old lady just talked about you again and again in anticipation, and here you are.&amp;quot; then the four maids scrambled to open the curtain. Meanwhile a man said, &amp;quot;Miss Forest is coming.&amp;quot;--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Mascara Jade entered the room. Realizing that this was her grandmother, she was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Mascara Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U&lt;br /&gt;
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As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:&amp;quot;my sweety!&amp;quot;. The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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Baoyu's grandmother than introduce them respectively:&amp;quot;This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:&amp;quot;Invite the gilrs. Today here come the dear guest, so they don't need to go to school.&amp;quot; Surrounding people said yes, and two of them left.&lt;br /&gt;
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Grandma Merchant then introduced them respectively to Mascara Jade Forest: &amp;quot;This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife.&amp;quot; She greeted them one by one. Grandma Merchant then said: &amp;quot;Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school.&amp;quot; Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Mascara Jade Forest hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Mascara Jade Forest's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, Grandma Merchant couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Mascara Jade.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Mascara Jade Forest's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Mascara Jade Forest's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Mascara Jade Forest replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Mascara Jade Forest, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Mascara Jade Forest is still taking ginseng pills.And Grandma Merchant said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandma Merchant said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Mascara Jade Forest is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Splendid Pheonix King wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Mascara Jade Forest hastily got up to curtsy to  her. Grandma Merchant said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Splendid Pheonix King, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Mascara Jade Forest promptly rose quickly to greet her. Grandma Merchant said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Pheonix’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Mascara Jade Forest was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King, named scientifically Splendid Phoenix King, was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King,named scientifically Splendid Phoenix King,was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked up and down her carefully, then she sent her toGrandma Merchant's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked her up and down carefully, then sent her to Grandma Merchant's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Merchant laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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Splendid Phoenix King listened and said;&amp;quot;The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Mascara Jade Forest's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Mascara Jade Forest nodded one by one. At the same time, Splendid Phoenix asked, &amp;quot;Have Miss Forest's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Splendid Phoenix was talking, and she arranged them by herself.  Lady King asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Splendid Phoenix King said, and  Lady King answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Lady King added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Splendid Phoenix King said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Lady King smiled, nodded and said nothing. Now the refreshments were cleared away and the Grandma Merchant ordered Nanny Walk and Nanny Woodhouse to take Mascara Jade Forest to see her two uncles. At this time, Lady City, the wife of Pardon Merchant also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Lady City smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Mascara Jade Forest to see her two uncles. At this time, Lady Xing immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Grandma Merchant laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Lady City promised, and said goodbye to Lady King with Mascara Jade Forest , all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Lady City set in the car with Mascara Jade Forest, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
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The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Lady City asked Mascarra Jade to sit down and then let others invite Pardon Merchant in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&amp;quot;--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest stood up and agreed one by one. Sitting for a moment and then said goodbye, Lady City painstakingly stay to eat a meal. Mascara Jade Forest smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Jubilee Hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Source Merchant, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by Mu Shibai, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady King often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady King seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Mascara Jade sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Lady King invited Miss Forest to come and sit over there.&amp;quot; When the old Nanny heard this, she led Mascara Jade out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Mascara Jade thought that this was Master Merchant's seat， because she saw that there were three chairs next to the bed with a half-used chair, so Mascara Jade sat down on the chair. She sat down next to Lady King after she had asked her to go to the bed again and again. Lady King said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot;  Lady King and  Mascara Jade Forest  went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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Grandama Merchant said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant sat down：Spring Pleasure Merchant  sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
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Grandama Merchant said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant  ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant were asked to sit down: Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
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The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Mascara Jade Forest saw many rules here are not like her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Mascara Jade Forest  also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Grandma Merchant said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
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Now Mascara Jade saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Mascara Jade gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Dowager Lady Jia said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady King stood up and said something idle, then led Lady Plum and Splendid Phoenix King to leave. When Dowager Lady Jia asked Mascara Jade what books she had read, Mascara Jade replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Mascara Jade asked her sisters what books they read, Dowager Lady Jia said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
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Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Mascara Jade replied. &amp;quot;What books are my cousins reading?&amp;quot; Mascara Jade went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed Grandma Merchant; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Precious Jade  Merchant was&lt;br /&gt;
coming. Mascara Jade  Forest was speculating in her mind how it was that this Precious Jade  Merchant had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Precious Jade Merchant is here.&amp;quot; Mascara Jade Forest thought to herself: &amp;quot;This Precious Jade Merchant, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Grandma Merchant &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
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Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
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He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars,gems,name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
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I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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可怜辜负好时光，于国于家无望。&lt;br /&gt;
Translation: The poor lived up to the good times, and the country was hopeless at home.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
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But she said that Mother Jia saw him come in and smiled: &amp;quot;The foreigner took off her clothes without seeing him, so she won't go to see your sister.&amp;quot;&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Precious Jade had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
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When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
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The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
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Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
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The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211124_homework&amp;diff=135002</id>
		<title>20211124 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211124_homework&amp;diff=135002"/>
		<updated>2021-12-30T14:17:06Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘胜楠 Liú Shèngnán 翻译学 女 202120081506 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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我很纳闷：《不自弃文》是篇名，《姬子》是书名，应该同等对待，要么都予注释，要么都不注释，为什么一注一不注呢？难道前者生僻而需要注释，后者人所共知而不必注释吗？显然不是，只能说是避难就易，这与注释的宗旨完全背道而驰。&lt;br /&gt;
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I wonder that since No Self-surrender is the title of the passage and Jizi is the title of the book, which should be treated equally, why did the situation happened that one annotated while one did not? Did the former need to be annotated while the latter is known to all without having to be annotated? Obviously, it is for choosing the easier way, which is completely contrary to the purpose of the annotation.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:22, 30 December 2021 (UTC)&lt;br /&gt;
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I wonder: &amp;quot;don't abandon yourself&amp;quot; is the title, and &amp;quot;Ji Zi&amp;quot; is the title of the book. It should be treated equally, either annotated or not annotated. Why not annotate one note at a time? Is it true that the former is remote and needs annotation, while the latter is well known and does not need annotation? Obviously not, it can only be said that it is easy to avoid difficulties, which is completely contrary to the purpose of the notes. &lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:01, 24 November 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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那怕注为“《姬子》不详”，也还不失为态度诚实。老实说，起初我对《姬子》也一头雾水，因为见所未见，闻所未闻。但根据我自定的注释原则，我不能回避。&lt;br /&gt;
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Even if it is noted as &amp;quot;Ji Zi&amp;quot; unknown &amp;quot;, it can be regarded as an honest attitude. To be honest, at first I was confused about Ji Zi, because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:20, 21 November 2021 (UTC)&lt;br /&gt;
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Even if it is noted as &amp;quot;unknown Ji Zi&amp;quot; , it can still be regarded as an honest attitude. To be honest, at first I was confused about ''Ji Zi'', because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:36, 22 November 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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于是我首先求助于《中国古典数字工程》，肯定了中国根本不存在《姬子》这么一本书，完全是曹雪芹所杜撰，正如《古今人物通考》、《中国历代文选》都是曹雪芹杜撰一样。其次，我记得俞平伯先生有一篇专门解释《姬子》的文章，但文章的题目、发表时间以及文章内容却不记得了。经过两天的翻箱倒柜，我终于找到了这篇文章，它的题目是《读〈红楼梦〉随笔》第九节《姬子》，初载于《文汇报》1954年1月25日；又收入《红楼梦研究参考资料选辑》第二辑，人民文学出版社1973年11月出版。&lt;br /&gt;
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Therefore, I first made reference htiw &amp;quot;Chinese Classical Digital Engineering&amp;quot; and confirmed that there was no such a book called &amp;quot;Ji Zi&amp;quot; in China, which was completely written by Cao Xueqin, just as Cao Xueqin wrote &amp;quot;General Examination of Ancient and Modern Characters&amp;quot; and &amp;quot;Selected Chinese Writings in Past Dynasties&amp;quot;. Secondly, I remember that Mr. Yu Pingbo had a special article explaining ''JiZi'', but I do not remember the title, publication time and content of the article. After two days of searching, I finally found this article. Its title is ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion''. It was first published in Wenhui Daily on January 25, 1954. It was also included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:46, 22 November 2021 (UTC)Chen Huini&lt;br /&gt;
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So, I firstly searched ''Chinese Classical Digital Engineering'' and confirmed there was no such a book called &amp;quot;Ji Zi&amp;quot; in China. This book was completely made up by Cao Xueqin like the same thing he did to ''General Examination of Ancient and Modern Characters'' and ''Selected Chinese Writings in Past Dynasties''.Then, I recalled that Mr. Yu Pingbo especially wrote an article to explain ''Ji Zi'', but I didn't remember the title, publication time and content.After two days of searching, I finally found it. The title of it was  ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion'' which was first published in Wenhui Daily on January 25, 1954. and then was included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:20, 24 November 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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据俞先生在文章中说：姬子书到底是部什么书呢，谁也说不上来。特别前些日子把这一回书选为高中国文的教材，教员讲解时碰到问题，每来信相询，我亦不能对。但经过研究，他还是写了这篇文章，作为回答。&lt;br /&gt;
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According to Mr.Yu in his article: nobody can tell what book ''Ji Zi'' really is. Moreover, this chapter of ''A Dream in Red Mansions'' with the name ''Ji Zhi'' has been selected as the reading material of the high school,and I can't say anything when the teacher who failed to explain it in the classroom come to me.But after careful research, he still write an article to reply this question.&lt;br /&gt;
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According to Mr. Yu in his article: nobody can tell what book ''Ji Zi'' really is.  In particular, this chapter was selected as a reading material for the Chinese language in high school some days ago, the teachers encountered problems when explaining it, and they wrote to me every time to ask about it, but I couldn't get it right. But after researching, he wrote this article as an answer.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:37, 23 November 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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他的结论有三点：其一，《姬子》是“作者杜撰”，并以第三回的《古今人物通考》也是杜撰而作为佐证。其二，“这原来是一个笑话”，是探春“拿姬子来抵制”宝钗用以压人的朱子和孔子，而“比朱子孔子再大，只好是姬子了。殆以周公姓姬，作为顽笑”。&lt;br /&gt;
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There are three points in his conclusion: one, ''Ji Zi'' is &amp;quot;the author fabricated&amp;quot;, and to the third round of &amp;quot; the general examination of ancient and modern characters&amp;quot; is also fabricated and as proof. Second, &amp;quot;this turns out to be a joke&amp;quot;, is Tanchun &amp;quot; take ''Ji Zi'' to resist&amp;quot; Baochai and used to press people by citing Zhu Zi and Confucius, and &amp;quot;higher level than Zhu Zi and Confucius can only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:35, 23 November 2021 (UTC)&lt;br /&gt;
There are three points in his conclusion: first, ''Ji Zi'' is &amp;quot;fabricated by the author&amp;quot;, and can be proved by the fabrication of the third round of &amp;quot; the general examination of ancient and modern characters&amp;quot;. Second, &amp;quot;this turns out to be a joke&amp;quot;, which Tanchun &amp;quot; held ''Ji Zi'' to resist” Baochai who used to press her by citing Zhu Zi and Confucius, but “requiring higher level than Zhu Zi and Confucius, there’s only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.”--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 12:25, 23 November 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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其三，“有人或者要问为什么净瞎捣乱，造书名？我回答：这是小说。”《中国古典数字工程》可以证明俞先生的“杜撰说”是正确的，因此我把俞先生的意见用以注释《姬子》。&lt;br /&gt;
Thirdly, &amp;quot;Someone may ask why messing around and making a title? I replied: This is a novel. &amp;quot;It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s “theory of fabrication” is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Jizi''.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:56, 23 November 2021 (UTC)&lt;br /&gt;
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Thirdly, &amp;quot;Someone may ask why to mess around and make a title? I replied: This is a novel. &amp;quot;It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s  ''Theory of Fabrication'' is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Ji Tzu''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:01, 26 November 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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据我所知，现在有人搜集了周公的几篇佚文，将其编为集子，按照《老子》、《庄子》、《孟子》之类的惯例，即命名为《姬子》，但这与曹雪芹毫不相干，《红楼梦》中的《姬子》书名绝对是杜撰。此外，有的注本虽然对《不自弃文》作了注释，却只是简述该文的大意，而没有注出曹雪芹的深刻用意。原来朱熹的徒子徒孙认为此文格调低下，有失朱夫子的身份，故将此文排除在众多朱熹文集之外，只有明·朱培编《文公大全集补遗》卷八从抄本《朱熹家谱》中引录，另有《朱子文集大全类编·卷二一·庭训》亦予收录。&lt;br /&gt;
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As far as I know, someone collected several lost articles of Duke of Zhou, edited them into an anthology and named it ''Ji Tzu'' according to the routine of  ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretation to ''No Self-surrender'', they just told the main idea of this article rather than annotating the deep meaning made by Cao Xueqin. In fact, disciples and followers of Zhu Xi thought the style of this passage beneath his dignity is very low, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the eighth roll of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of ''Zhu Xi’s Genealogy''. In addition, it is also included in ''Complete Works of Zhu Tzua•Roll Twenty-one•Home Hearing''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 03:47, 21 November 2021 (UTC)&lt;br /&gt;
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As far as I know, now someone collected several lost articles of Duke of Zhou and edited them into a collection that was named  ''Ji Tzu'' according to the routine of ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretations to ''No Self-surrender'', they just briefly described the main idea of this article rather than annotating the deep meaning of Cao Xueqin. In fact, disciples and followers of Zhu Xi thought this passage  was low in style and demeaned Zhu Xi, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the Book Eight of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of Zhu Xi’s Genealogy. In addition, ''Complete Works of Zhu Tzua• Book Twenty-one•Home Hearing'' was also included.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 03:07, 22 November 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìna 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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曹雪芹借宝钗之口说出这篇少见的文章，一则以显示宝钗无书不读，再者也暗示自己博览群籍，同时也对那些自封的朱熹卫士予以调侃。可见曹雪芹即使开玩笑，也非闲笔，总有一定的用意。（详见注释）鉴于所要注释的词语性质不同，因此对注文的要求也有所不同。&lt;br /&gt;
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Saying this rare writing through Precious Hairpin Marshgrass,  on the one hand Cao Xueqin showed her strong love of reading  as well as implied own extensive reading, and on the other, he played off those self-appointed guards of Zhu Xi. Obviously, his joking is not  casual but absolutely with some profound meaning.(see annotations) The nature of words annotated is different, so the requirements for explanatory notes are different as well.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 02:41, 22 November 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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其一，对于一般的疑难词语，重在疏通文意，多不引经据典，追根溯源。其二，对于成语、典故，则既要注明其出典，又要解释其本义，还要说明其引申义或比喻义。其三，对于各种名物（如建筑、服饰、官署、官职、琴棋书画、医卜星相等），则力求变专门术语为通俗语言，以利读者理解。&lt;br /&gt;
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Firstly, as for normally confusing words, the emphasis is on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for all kinds of physical objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:24, 24 November 2021 (UTC)&lt;br /&gt;
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Firstly, as for common confusing words, it should emphasize on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for various technical terms of objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:17, 28 November 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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其四，对于历史名人，则注明其所在朝代、简历及突出事迹。对于传说人物，则注明其出处及相关故事。其五，对于珍禽异兽、奇花异卉等，则注明其出处来历、奇异之处及相关故事。&lt;br /&gt;
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Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and animals, unusual flowers and different plants, etc., their origins and histories, peculiar places and related stories should be indicated.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:36, 23 November 2021 (UTC)&lt;br /&gt;
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Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and fabulous beasts, unusual flowers and different plants, etc., their origins and histories, peculiarities and related stories should be indicated.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:50, 23 November 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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其六，对于风俗、礼仪、节气等，则注明其形成沿革、具体内容。其七，对于谜语，则既要揭出谜底，又要解释谜语中的疑难词语、成语典故，还要说明谜底的根据。对于酒令，则要参照令谱，详述酒令的玩法及过程。&lt;br /&gt;
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Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and an explanation is expected to be given to the answer as well as to difficult words, idioms and allusions in the riddle. Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:51, 23 November 2021 (UTC)&lt;br /&gt;
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Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and it is necessary to explain the difficult words and idioms in the riddle, and to explain the basis of the answer.Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:45, 27 November 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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其八，对于所引前人诗、词、曲、文等，皆要注明出处；诗、词、曲照录全文，文则节录相关的文字。其九，对于具有隐寓或暗示意味的诗、词、曲、文、成语、典故、谜语、酒令等，因其关系到故事情节的发展和人物性格、运命的描写，故除了作注释之外，还要揭示其隐藏的含义。总而言之，注文以释难为易、释疑为明为宗旨，以释义准确、释文简炼为目标。&lt;br /&gt;
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Eighthly, reference to predecessors' poems, Ci, Qu, essay, etc., must indicate the source; Poems, Ci, Qu are transcribed without changing the original words, and the essay takes the relevant words. Ninthly, for poems, Ci, Qu, essay, idioms, allusions, riddles, drinkers’ wager game and so on with implicit or suggestive meaning, because they are related to the development of the story plot and the description of the character and fate, so in addition to making annotations, but also to reveal his hidden meaning. In a word, the annotations aim to explain the difficulty as easy, to explain the doubt as clear. Aim to explain the meaning accurately and explain the text concisely.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:32, 27 November 2021 (UTC)&lt;br /&gt;
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Eight, all quotations from poems, lyrics, songs and essays should be attributed to the source; the poems, lyrics and songs should be reproduced in their entirety, while the essays should be excerpted from the relevant texts. Nine, for poems, lyrics, songs, texts, idioms, allusions, riddles, wine orders, etc., which have an implicit or suggestive meaning, as they relate to the development of the storyline and the description of the characters' personalities and fortunes. The commentary should reveal their hidden meanings in addition to annotations. All in all, the aim of the commentary is to explain the difficult for the easy and the doubtful for the clear, and to explain the meaning accurately and to explain the text concisely.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:32, 28 November 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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愿望虽然如此，但学力有限，经验欠缺，愿望能否实现，毫无把握。诚望方家指教，读者检验。&lt;br /&gt;
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第一回 甄士隐梦幻识通灵 贾雨村风尘怀闺秀&lt;br /&gt;
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Although I wish to do so, I am not sure whether my wish can be realized because of my limited learning and lack of experience.I hope that the readers will test it.&lt;br /&gt;
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Chapter 1 Hidden Turth--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:33, 28 November 2021 (UTC)&lt;br /&gt;
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Although I wish to do so, I am not sure whether the wish can come true with my limited ability and experience. Sincerely hope that other authors teach something and readers check it.&lt;br /&gt;
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Chapter 1 Zhen Shiyin, in a vision, apprehends spirituality. Jia Yucun, in the windy and dusty world, cherishes fond thoughts of a beautiful maiden. --[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 07:21, 24 November 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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此开卷第一回也。作者自云：曾历过一番梦幻之后，故将真事隐去，而借“通灵”之说，撰此《石头记》一书也，故曰“甄士隐”云云。但书中所记何事何人&lt;br /&gt;
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This is the first chapter of the book. The author said that after going through the illusion, he prefered covering some truth and in virtue of mysticism wrote the novel ''The Story of the Stone''，so instead he used the name of  Zhen Shiyin as a major speaker. But things and people noted in it--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 03:59, 23 November 2021 (UTC)&lt;br /&gt;
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This is the first chapter of the book.Subsequent to the visions of a dream which he had，on some previous occasion，experienced，the writer personally relates，he designedly concealed the true circumstances，and borrowed the attributes of perception and spirituality to relate this story of the Record of the Stone. With this purpose，he made use of such designations as Chen Shih-yin and the like. What are，however，the events recorded in this work？--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 10:19, 24 November 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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自己又云：“今风尘碌碌，一事无成。忽念及当日所有之女子，一一细考较去，觉其行止见识，皆出我之上；我堂堂须眉，诚不若彼裙钗：我实愧则有馀，悔又无益，大无可如何之日也。当此日，欲将已往所赖天恩祖德，锦衣纨袴之时，饫甘餍肥之日，背父兄教育之恩，负师友规训之德，以致今日一技无成、半生潦倒之罪，编述一集，以告天下：知我之负罪固多，然闺阁中历历有人，万不可因我之不肖，自护己短，一并使其泯灭也。&lt;br /&gt;
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The author speaking for himself, goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Passing one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There have been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to screen my own shortcomings.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 12:42, 22 November 2021 (UTC)&lt;br /&gt;
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The author goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Thinking of them one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There had been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to hide my own shortcomings.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:34, 22 November 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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所以蓬牖茅椽，绳床瓦灶，并不足妨我襟怀；况那晨风夕月，阶柳庭花，更觉得润人笔墨。我虽不学无文，又何妨用假语村言敷演出来，亦可使闺阁昭传，复可破一时之闷，醒同人之目，不亦宜乎？”故曰“贾雨村”云云。&lt;br /&gt;
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&amp;quot;Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze,  the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Rainvillage Merchant.&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 13:27, 21 November 2021 (UTC)&lt;br /&gt;
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&amp;quot;Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze,  the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Jia Yucun.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 14:19, 23 November 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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更于篇中间用“梦”、“幻”等字，却是此书本旨，兼寓提醒阅者之意。看官：你道此书从何而起？说来虽近荒唐，细玩颇有趣味。&lt;br /&gt;
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In the middle of the article, the words &amp;quot;dream&amp;quot; and &amp;quot;fantasy&amp;quot; are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:21, 23 November 2021 (UTC)&lt;br /&gt;
In the middle of the article, the words &amp;quot;dream&amp;quot; and &amp;quot;fantasy&amp;quot; are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:33, 24 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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却说那女娲氏炼石补天之时，于大荒山无稽崖，炼成高十二丈、见方二十四丈大的顽石三万六千五百零一块，那娲皇只用了三万六千五百块，单单剩下一块未用，弃在青埂峰下。谁知此石自经锻炼之后，灵性已通，自去自来，可大可小。因见众石俱得补天，独自己无才，不得入选，遂自怨自愧，日夜悲哀。一日，正当嗟悼之际，俄见一僧一道远远而来，生得骨格不凡，丰神迥异，来到这青埂峰下，席地坐谈。It is said that, once upon a time, when Nuwa was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, its spirit has been passed. It can be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality  coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:34, 24 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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It is said that, once upon a time, when Nuwa(Goddesses of Sky-patching) was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, it had its spirit, it moved freely and could be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality  coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 05:57, 26 November 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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见着这块鲜莹明洁的石头，且又缩成扇坠一般，甚属可爱。那僧托于掌上，笑道：“形体倒也是个灵物了，只是没有实在的好处。须得再镌上几个字，使人人见了，便知你是件奇物。&lt;br /&gt;
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It was lovely to see this bright and clean stone shrinking like a fan. Resting on his palm, the monk smiled and said, &amp;quot;The body is a spiritual being, but it has no real benefit. Words had to be engraved so that everyone could see you and know that you were a wonder.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 15:01, 20 November 2021 (UTC)&lt;br /&gt;
Looking at this bright and clean stone shrinking like a fan, which is so lovely, with the stone on his palm the monk smiled and said, &amp;quot;Your body is a spiritual being, but ihas no real benefits. Words should be engraved so that everyone could see you and know that you are a wonder.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:42, 24 November 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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然后携你到那昌明隆盛之邦、诗礼簪缨之族、花柳繁华地、温柔富贵乡那里去走一遭。”石头听了大喜，因问：“不知可镌何字？携到何方？望乞明示。”那僧笑道：“你且莫问，日后自然明白。”&lt;br /&gt;
Then take you there, a city-state of prosperity, a family of scholar, a place of flowers and willows. After listening, Stone asked rejoicingly: “I do not know  what word I can write? Where I will be taken to? I hope get your instruction.” The monk smiled, “You do not rush into answer, and you will know it some day.”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:24, 24 November 2021 (UTC)&lt;br /&gt;
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Then I'll take you for a walk to the prosperous country, the family of poems, gifts and tassels, the prosperous place of flowers and willows, and the gentle and rich township. &amp;quot; The stone was overjoyed when he asked, &amp;quot;I don't know what word to engrave? Where to carry it? I hope to beg clearly.&amp;quot; the monk smiled and said, “You do not rush into answer, and you will know it some day.”--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 14:54, 28 November 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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说毕，便袖了，同那道人飘然而去，竟不知投向何方。又不知过了几世几劫，因有个空空道人访道求仙，从这大荒山无稽崖青埂峰下经过，忽见一块大石，上面字迹分明，编述历历。空空道人乃从头一看，原来是无才补天，幻形入世，被那茫茫大士、渺渺真人携入红尘、引登彼岸的一块顽石：上面叙着堕落之乡、投胎之处，以及家庭琐事、闺阁闲情、诗词谜语，倒还全备。&lt;br /&gt;
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Having concluded these words, he put the stone in his sleeve, and proceeded on his journey, in company with the Taoist priest. No one knows where he took the stone. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, named K'ung K'ung, passed, during his researches after the eternal reason and his quest after immortality, by these Ta Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly seeing a large stone, on the surface of which the handwriting on it is clear and the calendar is compiled, K'ung K'ung examined them from first to last. They, in fact, explained how that this stone had originally been devoid of the properties essential for the repairs to the heavens, how it would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other bank (across the San Sara). On the surface, it describes the land of degeneration, the place of reincarnation, as well as family trivia, boudoir leisure, poetry, riddles, which could not be ascertained.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 04:54, 24 November 2021 (UTC)&lt;br /&gt;
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Having concluded these words, he put the stone in his sleeve, and proceeded leisurely on his journey, in company with the Taoist. However, no one knew where he went. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, Kongkong daoren Dauist by name, passed, during his researches after the eternal reason and his quest after immortality, by these Da Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly perceiving a large block of stone, on the surface of which the traces of characters giving in a connected form, the various incidents of its fate could be clearly predicted. Kongkong daoren Dauist examined them from beginning to end. In fact, they explained how this block of worthless stone which had originally been devoid of the properties essential for the mending to the heavens, would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other world (across the San Sara). On the surface, it recorded the spot of its degeneration and the place of its birth. The complete recording also included various family trifles, trivial affairs of young ladies, verses and riddles.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 06:17, 28 November 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 12:02, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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只是朝代年纪，失落无考。后面又有一偈云：无才可去补苍天，枉入红尘若许年。此系身前身后事，倩谁记去作奇传？&lt;br /&gt;
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But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:&lt;br /&gt;
Lacking in virtues to mend the azure skies, &lt;br /&gt;
in vain I have been into the mortal world for many years. &lt;br /&gt;
These facts are of a former and after life,&lt;br /&gt;
but who will record a strange legend for me?--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 03:57, 24 November 2021 (UTC)&lt;br /&gt;
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But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:&lt;br /&gt;
Lacking in virtues to mend the azure sky, nothing have I gained within the years spent in the secular world. All of these about my present life and afterlife, who would record them for me?--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:59, 26 November 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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空空道人看了一回，晓得这石头有些来历，遂向石头说道：“石兄，你这一段故事，据你自己说来，有些趣味，故镌写在此，意欲闻世传奇。据我看来：第一件，无朝代年纪可考；第二件，并无大贤大忠理朝廷、治风俗的善政，其中只不过几个异样女子，或情或痴，或小才微善。我纵然抄去，也算不得一种奇书。”&lt;br /&gt;
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As the Taoist priest named Kongkong once has examined the stone, he had some idea about the story on it, and then said to the stone, &amp;quot;Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle  intelligence and benevolence.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 09:02, 21 November 2021 (UTC)&lt;br /&gt;
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As the Taoist priest named Kongkong once has examined the stone, he knew that the stone had some history, and then said to the stone, &amp;quot;Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle  intelligence and benevolence.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 03:05, 27 November 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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石头果然答道：“我师何必太痴？我想历来野史的朝代，无非假借汉、唐的名色；莫如我这石头所记，不借此套，只按自己的事体情理，反倒新鲜别致。况且那野史中，或讪谤君相，或贬人妻女，奸淫凶恶，不可胜数；更有一种风月笔墨，其淫秽污臭，最易坏人子弟。&lt;br /&gt;
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The stone answered: “Why are you so stubborn? I think the dynasties of unofficial history are nothing more than under the guise of Han, Tang. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Moreover, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are the most likely to have a bad influence on the younger generation.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:54, 24 November 2021 (UTC)&lt;br /&gt;
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The stone answered: “Why are you so stubborn? I think the dynasties recorded in the unofficial histories are nothing more than under the guise of Han and Tang Dynasty. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Besides, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are most likely to have a bad influence on the younger generation.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:10, 24 November 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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至于才子佳人等书，则又开口文君，满篇子建，千部一腔，千人一面，且终不能不涉淫滥。在作者不过要写出自己的两首情诗艳赋来，故假捏出男女二人名姓；又必旁添一小人拨乱其间，如戏中小丑一般。更可厌者，之乎者也，非理即文，大不近情，自相矛盾。&lt;br /&gt;
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As for the books about the talented and the beauties, they talked about Wen and Jun, the pages were also full of Zi and Jian. A thousand volumes present the same thing, and a thousand person are also in the same character. Moreover, they cannot avoid to some licentious things. The authors, who had to write several sentimental odes and elegant ballads, had falsely invented the names of both men and women, and also some bad guys who like a clown in a play made some troubles in there. As for the annoying men, they had nothing in their minds and talked about Li and Wen, which had no link with the targeted things and paradoxical in the whole.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:53, 22 November 2021 (UTC)&lt;br /&gt;
As for books related to talented scholars and beautiful ladies, he also talked about Wenjun, who is good at articles and is capricious, but he could not avoid prostitution in the end. The author just wants to write two of his own love poems, so he falsely pinches out the names of men and women; he must add a little person to make trouble in the meantime, like a clown in a play. The more annoying, the more it is, the unreasonable is the literary, the most unkind, self-contradictory.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:24, 24 November 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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竟不如我这半世亲见亲闻的几个女子，虽不敢说强似前代书中所有之人，但观其事迹原委，亦可消愁破闷；至于几首歪诗，也可以喷饭供酒。其间离合悲欢，兴衰际遇，俱是按迹循踪，不敢稍加穿凿，至失其真。只愿世人当那醉馀睡醒之时，或避事消愁之际，把此一玩，不但是洗旧翻新，却也省了些寿命筋力，不更去谋虚逐妄了。&lt;br /&gt;
It’s not as good as the few women I’ve seen and heard about in this half of my life. Although I dare not say that she is  better than all the people in the books of the previous generations. Looking at their deeds, you can also relieve your sorrow and boredom. As for a few poor poems, you can also taste them while eating and drinking.The joys and sorrows, the ups and downs all follow the traces, daring not to  lose the truth. I only hope that when the world is awake, or when avoiding troubles and sorrows ,they can enjoy it, not only to renovate, but also to save some lifespan and energy, not to seek falsehood.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:15, 24 November 2021 (UTC)&lt;br /&gt;
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I am not as good as the women I have seen and heard in my life. Though I cannot say that they are as good as all the people in the books of previous generations, I can relieve my sorrow and despair by watching their deeds. As for a few crooked poems, you can also spray rice for wine. During the separation of joys and sorrows, ups and downs, are all traced, dare not slightly cut, to lose its true. I only hope that when people wake up from their drunkenness, or when they are relieved of their sorrow, they will not only wash the old and renew it, but also save some strength of life, so as not to seek for false things.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:39, 24 November 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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我师意为如何？”空空道人听如此说，思忖半晌，将这《石头记》再检阅一遍。因见上面大旨不过谈情，亦只是实录其事，绝无伤时诲淫之病，方从头至尾抄写回来，闻世传奇。&lt;br /&gt;
What does my master think?&amp;quot; Empty Taoist listen to say so, ponder a long time, will this &amp;quot;stone&amp;quot; review again. Seeing that the message above was only a talk of love, and only a record of it, without suffering from the disease of lewdness, I copied it back from beginning to end and heard the legend of the world.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:38, 24 November 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:10, 29 December 2021 (UTC)&lt;br /&gt;
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What do I mean? &amp;quot; After hearing this, Taoist Kongkong thought for a long time and reviewed the stone story again. Seeing that the above general purpose is nothing but romance, it is only a factual record of its affairs, and there is no disease of obscenity at the time of injury, so I copied it back from beginning to end and heard the legend of the world.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:35, 24 November 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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从此空空道人因空见色，由色生情，传情入色，自色悟空，遂改名情僧，改《石头记》为《情僧录》。东鲁孔梅溪题曰《风月宝鉴》。后因曹雪芹于悼红轩中披阅十载，增删五次，纂成目录，分出章回，又题曰《金陵十二钗》，并题一绝。&lt;br /&gt;
Since then empty Taoist empty because of empty see color, from color feeling, feeling into color, since color wukong, he then changed his epithet  into Monk in Love, and changed ''The story of the Stone''  into ''Record of Monk in Love''. Kong Meixi of The Eastern Lu dynasty wrote the book ''Catalogue of Chinese Ancient Romance''.After cao Xueqin in mourning red xuan read ten years, add and delete five times, compiled into a directory, a chapter back, and the title yue ''The Twelve Flowers of Gold Mausoleum '', and a must.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:31, 24 November 2021 (UTC)&lt;br /&gt;
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Since then Empty Taoist saw form through emptiness, generated emotions due to form, into which emptiness was stilled and epiphany was revealed, he then changed his epithet  into Monk in Love, and changed ''The story of the Stone''  into ''Record of Monk in Love'', which was called ''Catalogue of Chinese Ancient Romance'' by Kong Meixi of The Eastern Lu dynasty. Afterwards Cao Xueqin read and amended it for ten years, revised and polished it for five times, and then compiled it into a directory with chapters and sections. Finally he entitled it ''The Twelve Flowers of Gold Mausoleum'' attached with a Chinese quatrain.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:55, 24 November 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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即此便是《石头记》的缘起。诗云：满纸荒唐言，一把辛酸泪。都云作者痴，谁解其中味?&lt;br /&gt;
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This was the origin of ''The Story of The Stone''. A poem once said, “the whole novel is full of absurd words, as well as bitter tears. People all consider the author crazy, but is there anyone who knows its true meaning？--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:22, 23 November 2021 (UTC)&lt;br /&gt;
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This is the origin of ''The Story of the Stone''. The poem says: The pages were full of idle words which was penned with hot and bitter tears; All men call the author fool, but no one understood his secret message.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:25, 23 November 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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《石头记》缘起既明，正不知那石头上面记着何人何事？看官请听。按那石上书云：当日地陷东南，这东南有个姑苏城，城中阊门最是红尘中一二等富贵风流之地。&lt;br /&gt;
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Now that the origin of ''The Story of the Stone'' is clear, let us see what was written on the stone. Dear readers, please listen. Long ago, the earth dipped downwards in the southeast where there was a city named Gusu; and the quarter around Changmen Gate of Gusu was one of the most fashionable centres of wealth and nobility in the world of men. --[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:10, 23 November 2021 (UTC)&lt;br /&gt;
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The origin of &amp;quot;The Story of the Stone&amp;quot; was clear, but did you know who or what was written on the stone? Please listen to me and go on. According to the record on the stone: One day, there was a subsidence in southeast and there was Gusu city. In the city, the quarter around Brothel Gate was one of the most fashionable centres of wealth and nobility in the world of men.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:13, 23 November 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这阊门外有个十里街，街内有个仁清巷，巷内有个古庙，因地方狭窄，人皆呼作“葫芦庙”。庙旁住着一家乡宦，姓甄名费，字士隐；嫡妻封氏，性情贤淑，深明礼义。家中虽不甚富贵，然本地也推他为望族了。&lt;br /&gt;
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Outside the city of Brothel Gate, there was a Worldly Way and a Carnal Line was on the street. In the Carnal Line, there was an ancient temple called &amp;quot;Gourd Temple&amp;quot; owing to it`s narrow location. Next to the temple lived a hometown official named Fei Potterymaker, courtesy named Hidden; his legal wife, surnamed Feng, was a virtuous person with a deep sense of courtesy and righteousness. Although the family was not very rich, the local people also thought that he was a prominent family.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:02, 21 November 2021 (UTC)Liu Wei&lt;br /&gt;
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Outside the Changmen gate was the Shili street and the Renqing lane, inside which was an ancient temple, called the &amp;quot;Gourd temple&amp;quot; for its narrow space. Next to the temple lived a retired official named Zhen Fei, whose courtesy name was Shi Yin; his legal wife Mrs. Feng was a virtuous person with a deep awareness of courtesy and righteousness. Although the family was not very rich, the locals also regarded him as a noble man.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:19, 22 November 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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因这甄士隐禀性恬淡，不以功名为念，每日只以观花种竹、酌酒吟诗为乐，倒是神仙一流人物。只是一件不足：年过半百，膝下无儿；只有一女，乳名英莲，年方三岁。一日炎夏永昼，士隐于书房闲坐，手倦抛书，伏几盹睡，不觉矇眬中走至一处，不辨是何地方。&lt;br /&gt;
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Hidden Truth had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! There was only one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Pity Zhen. One day in the hot summer, Hidden Truth was sitting idly in his study. Tired, he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 03:19, 21 November 2021 (UTC)&lt;br /&gt;
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Zhen Shiyin had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! But there was one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Yinglian. One day in the hot summer, Shenyin was sitting idly in his study. He was so tired that he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:12, 23 November 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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忽见那厢来了一僧一道，且行且谈。只听道人问道：“你携了此物，意欲何往？”那僧笑道：“你放心。如今现有一段风流公案，正该了结，这一干风流冤家，尚未投胎人世。&lt;br /&gt;
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Unexpectedly he espied， in the opposite direction， two priests coming towards him： the one a Buddhist， the other a Taoist. As they advanced they kept up the conversation in which they were engaged. &amp;quot;Whither do you purpose taking the object you have brought away？&amp;quot; he heard the Taoist inquire. To this question the Buddhist replied with a smile： &amp;quot;Set your mind at ease，&amp;quot; he said； &amp;quot;there's now in maturity a plot of a general character involving mundane pleasures， which will presently come to a denouement. The whole number of the votaries of voluptuousness have， as yet， not been quickened or entered the world.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:07, 23 November 2021 (UTC)&lt;br /&gt;
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Unexpectedly he espied, from the opposite direction, A monk and a Taoist coming up to him. As they advanced, they kept up the conversation in which they were engaged. &amp;quot;Whither do you purpose taking the thing you have brought away？&amp;quot; He heard the Taoist inquire. The Buddhist replied with a smile: &amp;quot;Set your mind at ease. There's now a case of romantic affairs, which should presently come to a denouement. The whole number of the votaries of voluptuousness involved in have not been reincarnated.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:31, 24 November 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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趁此机会，就将此物夹带于中，使他去经历经历。”那道人道：“原来近日风流冤家又将造劫历世，但不知起于何处，落于何方？”那僧道：“此事说来好笑。&lt;br /&gt;
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Taking this opportunity, we can mingle it in them and let it experience the life on earth.&amp;quot; The Taoist said: &amp;quot;So those debtors of love affairs will be reincarnated and then suffer on earth. But from which place will the reincarnation start and in which direction will them be placed still remain unsettled.&amp;quot; The monk said: &amp;quot;It's a funny story. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 24 November 2021 (UTC)&lt;br /&gt;
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Taking this opportunity, we can carry it away and let it experience the life on earth. ”The Taoist priest said: &amp;quot;The debtors of love affairs will be reincarnated and then suffer on earth recently. But it' s unknown that from when the story started and to where will it go.“ The monk said: &amp;quot;It's a funny story....--  --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 08:23, 28 November 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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只因当年这个石头，娲皇未用，自己却也落得逍遥自在，各处去游玩。一日来到警幻仙子处，那仙子知他有些来历，因留他在赤霞宫中，名他为赤霞宫神瑛侍者。他却常在西方灵河岸上行走，看见那灵河岸上三生石畔有棵绛珠仙草，十分娇娜可爱，遂日以甘露灌溉，这绛珠草始得久延岁月。&lt;br /&gt;
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This stone have not been used by The Empress Nu Wo. Thus It used to be free to roam on the heavens until one day he came to the Fairy of Wonders, who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Cabernet Palace. He often walked along the bank of West Sacred River where he saw a delicate and lovely Red Bead flower on the bank of the Three Living Stones. Being struck with the great beauty of this flower, the stone remained there, tending its protegee with the most loving care, and daily moistening its roots with the choicest nectar of the sky. Yielding to the influence of disinterested love, the Red Bead flower lived a longer life. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:32, 28 November 2021 (UTC)&lt;br /&gt;
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Because this stone in that age hasn‘t been used by a goddess in Chinese mythology，he could be careless and can go to visit many places for fun. One day，he come to the Fairy of Wonders who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Cabernet Palace.But he always walks by the bank of the West Sacred River. One day，he saw a fairy grass beside the Three Living Stones on the bank of the river，which is cute and delicate，so he irrigated it day by day，making it living longer.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:31, 28 November 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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后来既受天地精华，复得甘露滋养，遂脱了草木之胎，幻化人形，仅仅修成女体，终日游于离恨天外，饥餐秘情果，渴饮灌愁水。只因尚未酬报灌溉之德，故甚至五内郁结着一段缠绵不尽之意。常说：‘自己受了他雨露之惠，我并无此水可还。&lt;br /&gt;
Afterwards，because of the essence of the nature and the nutrients of the dew，it gradually got rid of itself from the trees and become a human-being，but only can become a female，meandering outside all day long，when feeling hungry，she would eat fruits，and when feeling thirsty，she would drink water.The reason for her lingering emotions is that she haven‘t showed her gratitude to her benefactors.She always said that：“I was benefited from his dew，but I can‘t bring back a report.”--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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他若下世为人，我也同去走一遭，但把我一生所有的眼泪还他，也还得过了。’因此一事，就勾出多少风流冤家都要下凡，造历幻缘，那绛珠仙草也在其中。今日这石正该下世，我来特地将他仍带到警幻仙子案前，给他挂了号，同这些情鬼下凡，一了此案。”&lt;br /&gt;
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If he could be reincarnated as human in the next life, I would also go with him but only in this time return all the sorrows to him, which can let me go through the life. “For this reason, how many pretty teases have to descend to the world suffering the illusory fates, and the Crimson Pearl Flower is also among them. Today, this stone is about to be born, so I comes here specially to bring him to the court of Fairy Maiden Jinhuan, registering him and letting him go down to the earth with ghosts  in order to settle the case.”--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 12:37, 24 November 2021 (UTC)&lt;br /&gt;
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If he could be reincarnated as human in the next life, I would go with him, but I should also return all the sorrows in this time to him, which can enable me to go through the life. &amp;quot;For this reason, lots of pretty teases have to descend to the world suffering the illusory destiny, and that Red Bead Flower is also amomg them. Today this jade is about to be born, so I come here specially to take him to the court of the fairy Disenchantment, endowing him with a registration and letting him go down to the earth with those sentimental ghosts so as to settle the case.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:16, 27 November 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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那道人道：“果是好笑，从来不闻有‘还泪’之说。趁此，你我何不也下世度脱几个，岂不是一场功德？”那僧道：“正合吾意。你且同我到警幻仙子宫中，将这蠢物交割清楚，待这一干风流孽鬼下世，你我再去。如今有一半落尘，然犹未全集。”&lt;br /&gt;
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The Taoist priest says:&amp;quot;It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?&amp;quot; The monk replies:&amp;quot;It's exactly what I am hoping for. You and I are going to the palace of the fairy Disenchantment, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely.&amp;quot;--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:04, 27 November 2021 (UTC)&lt;br /&gt;
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The Taoist priest says:&amp;quot;It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?&amp;quot; The monk replies:&amp;quot;It's exactly what I am hoping for. You and I will go the palace of the fairy maiden Jing Huan, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely.&amp;quot;--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:56, 23 November 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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道人道：“既如此，便随你去来。”却说甄士隐俱听得明白，遂不禁上前施礼，笑问道：“二位仙师请了。”那僧、道也忙答礼相问。&lt;br /&gt;
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The Taoist said, &amp;quot;In that case, let's go with you.&amp;quot; Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, &amp;quot; Please, distinguished masters.&amp;quot; The monk and the Taoist also replied with manners.&lt;br /&gt;
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The Taoist said, &amp;quot;In that case, let's go with you.&amp;quot; Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, &amp;quot; Please, distinguished masters.&amp;quot; The monk and the Taoist also immediately replied with manners.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:50, 24 November 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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士隐因说道：“适闻仙师所谈因果，实人世罕闻者。但弟子愚拙，不能洞悉明白。若蒙大开痴顽，备细一闻，弟子洗耳谛听，稍能警省，亦可免沉沦之苦了。”&lt;br /&gt;
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Hidden Truth said: &amp;quot;What you master talked about the cause and effect is definitely rare in the world. But I am stupid and can't fully understand it. If you can explain it for me to get rid of infatuation and stubbornness, I will listen to you carefully and then take warning from it, avoiding the suffering of enthrallment.&amp;quot;--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:01, 21 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth then said, &amp;quot;I have just heard you master's words about karma, a truly rare insight in the world. But I am too ignorant to understand it. If I could be enlightened by you two to get rid of infatuation and stubbornness, I would certainly listen carefully to all that you say and then take warning from it, avoiding the suffering of enthrallment.&amp;quot;--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:54, 22 November 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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二仙笑道：“此乃玄机，不可预泄。到那时只不要忘了我二人，便可跳出火坑矣。”士隐听了，不便再问，因笑道：“玄机固不可泄露，但适云‘蠢物’，不知为何？或可得见否？”那僧说：“若问此物，倒有一面之缘。”&lt;br /&gt;
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The two immortals laughed and said, &amp;quot;It is something metaphysical and cannot be divulged in advance.  At that time, just don't forget the two of us, and you will be free from your predicament.&amp;quot; When Hidden Truth heard this, he stopped pursuing the matter. He laughed and said, &amp;quot;Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?&amp;quot;  The monk said, &amp;quot;This thing you are asking about, you do have the fortune to see it.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:39, 22 November 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:48, 29 December 2021 (UTC)&lt;br /&gt;
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The two immortals laughed and said, &amp;quot;It is metaphysical and cannot be divulged in advance. At that time, if you don't forget two of us, and you will be free from your predicament.&amp;quot; When Shi Yin heard this, he stopped pursuing the matter. He laughed and said, &amp;quot;Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?&amp;quot;  The monk said, &amp;quot;This thing you are asking about, you do have the fortune to see it.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:17, 29 November 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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说着取出，递与士隐。士隐接了看时，原来是块鲜明美玉，上面字迹分明，镌着“通灵宝玉”四字，后面还有几行小字。正欲细看时，那僧便说已到幻境，就强从手中夺了去。&lt;br /&gt;
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He said and took it out to Hidden Truth. ShiYin received it and found it a bright beautiful jade in which there were four clear characters:Tong Ling Bao Yu followes by several lines of words.When Hidden Truth craved for a careful look, that monk said that he had reached the illusion, so he snatched it from ShiYin's hand.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 02:57, 21 November 2021 (UTC)&lt;br /&gt;
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Then he said as he took it out and handed it to Hidden Truth. Hidden Truth took a look, and it turned out to be a piece of bright beautiful jade, with clear writing above, engraved with the “Tongling jade”. There were a few lines of small characters behind. When he was about to take a closer look, the monk said he had reached the Illusory Land and snatched the jade from his hands.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:47, 22 November 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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和那道人竟过了一座大石牌坊，上面大书四字，乃是“太虚幻境”。两边又有一副对联道：假作真时真亦假，无为有处有还无。士隐意欲也跟着过去，方举步时，忽听一声霹雳，若山崩地陷。&lt;br /&gt;
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And with that Taoist priest actually passed a large stone archway, above which was engraved four big words, is “ Illusory Land of Great Void ”.On both sides there was a pair of couplets: If false is taken as the truth, then truth is said to be lieing , when nothing is taken as being, then being itself is turned into nothing. Hidden Truth also wanted to pass the big stone archway, but the moment he was about to raise his foot, he heard a crack of thunder which sounded as if the hills were rending asunder and the earth falling in.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:52, 21 November 2021 (UTC)&lt;br /&gt;
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And that Taoist passed a large stone pagoda, written on it four big words, is &amp;quot;Taixu fantasy realm&amp;quot;. On both sides, there is a couplet saying: &amp;quot;Falsehood is true when it is true, and there is nothing where there is nothing&amp;quot;. Hidden Truth also wanted to follow, when just ready to raise his feet, he heard a thunderbolt all of a sudden, as if a landslide happened.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:48, 21 November 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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士隐大叫一声，定睛看时，只见烈日炎炎，芭蕉冉冉，梦中之事便忘了一半。又见奶母抱了英莲走来。士隐见女儿越发生得粉装玉琢，乖觉可喜，便伸手接来，抱在怀中，斗他玩耍一会。&lt;br /&gt;
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Hidden Truth cried out, and when he fixed his eyes, only seeing the sun is shining, the weather is bright, and the plantains are flourishing, and then he forgot half of his dream. Later, the lactating mother coming with Pity Zhen in her arms. When Hidden Truth noted that his daughter was becoming more and more beautiful and cute, he reached out and took her in his arms, and teased her for a while.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:43, 21 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth cried out, fixing his eyes on the blazing sun and supplely drooping banana leaves, only to be oblivious to half of his dream. Then the wet nurse came over with Pity Zhen in her arms. Hidden Truth perceived that his daughter became so fair and lovely that he couldn’t wait to cradle her in his arms to amuse her.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:48, 21 November 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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又带至街前，看那过会的热闹。方欲进来时，只见从那边来了一僧一道：那僧癞头跣足，那道跛足蓬头，疯疯癫癫，挥霍谈笑而至。及到了他门前，看见士隐抱着英莲，那僧便大哭起来，又向士隐道：“施主，你把这有命无运、累及爹娘之物抱在怀内作甚？”&lt;br /&gt;
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Hidden Truth then took his lovely daughter out into the street to see the lively meeting. When he was about to enter the door, he saw a monk and a Taoist coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They came over, crazy, talking and laughing. When they got to Hidden Truth’s door, seeing him holding Pity Zhen in his arms. The monk began to cry and said to Hidden Truth, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 01:35, 21 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth then took his lovely daughter to the street to see the lively agora. When he was about to enter the door, he saw a monk and a Taoist priest coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They acted like a lunatic and came over,talking and laughing. When they got to Shiyin’s door, seeing him holding Pity Zhen in his arms. The monk began to cry and said to Hidden Truth, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:06, 21 November 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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士隐听了，知是疯话，也不睬他。那僧还说：“舍我罢，舍我罢。”士隐不耐烦，便抱着女儿转身。&lt;br /&gt;
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After listening to him,Hidden Truth knew that it's crazy words and ignored him.But the monk also said:&amp;quot;Give her to me,give her to me.&amp;quot; Hidden Truth was impatient,so he held his daughter and turned to leave.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:59, 21 November 2021 (UTC)&lt;br /&gt;
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After listening to him, Hidden Truth knew that it was lunatic ravings and ignored him. But the monk complemented:&amp;quot;Give her to me, give her to me.&amp;quot; Hidden Truth got impatient, so he embraced his daughter and turned around. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:14, 23 November 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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才要进去，那僧乃指着他大笑，口内念了四句言词，道是：惯养娇生笑你痴，菱花空对雪澌澌。好防佳节元宵后，便是烟消火灭时。&lt;br /&gt;
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When he was about to get in, the monk pointed at him and laughed, mumbling four sentences, which mean “how crazy that you pamper your daughter like this, (see you embrace Yinglian), just like the summer lotus are exposed to the winter snow. Beware of the days after the Lantern Festival, then there is a fire to vanish everything.”--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 03:03, 21 November 2021 (UTC)&lt;br /&gt;
When he wanted to go in, the monk pointed at him and laughed, saying…--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:56, 24 November 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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士隐听得明白，心下犹豫，意欲问他来历，只听道人说道：“你我不必同行，就此分手，各干营生去罢。三劫后，我在北邙山等你，会齐了，同往太虚幻境销号。”那僧道：“最妙，最妙。”&lt;br /&gt;
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Hidden Truth understood and hesitated, intending to ask him where he came from. The Taoist said, &amp;quot;You and I don't need to go together. Three days later, I wait for you in Beimangshan Berg, meet together, with Dimness sales number.&amp;quot; The monk said, &amp;quot;The best, the best.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:44, 24 November 2021 (UTC)&lt;br /&gt;
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Shiyin understood,hesitated in his heart,and wanted to ask him where he came from.He only heard the Taoist say: &amp;quot;You and I don't have to go together, just break up and go to work. After the Three Tribulations, I will wait for you in Beimanshan,nnd go to the Tai Unreal Realm to sell the number.&amp;quot; The monk said: &amp;quot;The most wonderful, the most wonderful.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:40, 28 November 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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说毕，二人一去，再不见个踪影了。士隐心中此时自忖：“这两个人必有来历，很该问他一问，如今后悔却已晚了。”这士隐正在痴想，忽见隔壁葫芦庙内寄居的一个穷儒，姓贾名化、表字时飞、别号雨村的走来。&lt;br /&gt;
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After that,the two went away,and they were nowhere to be seen.Shiyin thought to himself at this moment: &amp;quot;These two people must have a history.It's time to ask him,but now it's too late to regret.&amp;quot; Shiyin was thinking about it,but suddenly saw a poor scholar living in the Hulu temple next door whose first name is Jia,last name hua,Courtesy name Shifei,and another name Yucun came.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:37, 28 November 2021 (UTC)&lt;br /&gt;
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After saying that, the two went away, and there was no sign of them anymore. Shiyin thought to himself at this moment: &amp;quot;These two people surely had some backgrounds. I should have asked him, but it was too late to regret now.&amp;quot; Shiyin was daydreaming, but suddenly saw a poor scholar living in the Hulu temple next door coming up. His first name is hua, last name is jia, secondary personal name is Shifei, and another name is Rainvillage Merchant.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 28 November 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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这贾雨村原系湖州人氏，也是诗书仕宦之族。因他生于末世，父母祖宗根基已尽，人口衰丧，只剩得他一身一口。在家乡无益，因进京求取功名，再整基业。&lt;br /&gt;
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Rainvillage Merchant was born in Huzhou and came from a family of Confucian scholars and officials. Because he was born in last phase of age, the roots of his ancestors had died out. Family declined, and left him alone. He found no benefit in hometown, so he went to Beijing to strive for fame and tried to make another solid foundation for family.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:10, 21 November 2021 (UTC)&lt;br /&gt;
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Jia Yucun came from Huzhou and was born in a family of scholars and officials. However, because he was born in the last phase of the age, the root of his ancestors had died out and family declined, leaving him alone in the world. He found no benefit in hometown, so he went to Beijing to strive for success and fame and tried to make the revitalization of his family.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 04:46, 21 November 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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自前岁来此，又淹蹇住了，暂寄庙中安身，每日卖文作字为生，故士隐常与他交接。当下雨村见了士隐，忙施礼陪笑道：“老先生倚门伫望，敢街市上有甚新闻么？”士隐笑道：“非也。适因小女啼哭，引他出来作耍。正是无聊的很，贾兄来得正好，请入小斋，彼此俱可消此永昼。” &lt;br /&gt;
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Since arriving in Beijing the year before last, Jia Yuchun had led a hard life, living only in a temple. He wrote poems and articles in exchange for money every day, so Shiyin often often met with him. Once Yucun saw Shiyin, hurriedly saluted and said with a smile, &amp;quot; Sir, you are leaning on the door and looking at something. Is there any news in the market?&amp;quot; Shiyin smiled and said, &amp;quot;No. Just because my little girl cried, so I took her out to play. I am so bored now and you are so nice to appear in time. Please come into my study with me, so that we can both kill the boring time.&amp;quot; --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 03:35, 21 November 2021 (UTC)&lt;br /&gt;
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Since arriving in Beijing the year before last, Rainvillage Merchant found himself in difficult conditions and desperate straits. He lived only in a temple and made a living by writing in exchange for money every day, so Hidden Truth often met with him. At that moment, Rainvillage Merchant saw Hidden Truth, hurriedly saluted and said with smile, &amp;quot; An old gentleman as you, leaning on the door and looking at something, I wander that is there any news in the street?&amp;quot; Hidden Truth smiled and said, &amp;quot;Hardly, just because my little girl cried, so I take her out to play. I am so bored now and you‘ve come just at the right moment. Please come into my small studio, so that we can spend the long day together.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:13, 23 November 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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说着，便令人送女儿进去。自携了雨村来至书房中，小童献茶。方谈得三五句话，忽家人飞报：“严老爷来拜。”&lt;br /&gt;
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While he was talking, he asked someone to take his daughter back to her room. Then he took Rainvillage Merchant to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that &amp;quot;Master Yan came to visit.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:30, 23 November 2021 (UTC)&lt;br /&gt;
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While talking, he asked someone to take his daughter back to her room. Then he took Rainvillage Merchant to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that &amp;quot;Master Yan came to visit.&amp;quot; --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:01, 24 November 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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士隐慌忙起身谢道：“恕诓驾之罪。且请略坐，弟即来奉陪。”雨村起身也让道：“老先生请便。晚生乃常造之客，稍候何妨！”说着，士隐已出前厅去了。&lt;br /&gt;
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HiddenTruth stood up hurriedly and said, &amp;quot; Excuse me.Please sit for a moment first, and I will entertain you at once.&amp;quot;Rainvillage Merchant also stood up and answered:&amp;quot; Old gentleman, you go. I often come to you here as a guest, wait a little while is not the matter!&amp;quot; Said, Hidden Truth had walked out of the guest room.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 02:51, 21 November 2021 (UTC)&lt;br /&gt;
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Shiyin hurriedly got up and thanked, &amp;quot;excuse the crime of cheating driving. Please sit down and my brother will accompany you.&amp;quot; Yucun got up and said, &amp;quot;please help yourself, sir. My late life is a regular guest. Why not wait a minute!&amp;quot; said Shiyin, who had left the front hall.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:44, 22 November 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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这里雨村且翻弄诗籍解闷，忽听得窗外有女子嗽声。雨村遂起身往外一看，原来是一个丫鬟在那里掐花儿：生的仪容不俗，眉目清秀，虽无十分姿色，却也有动人之处。雨村不觉看得呆了。那甄家丫鬟掐了花儿，方欲走时，猛抬头见窗内有人：敝巾旧服，虽是贫窘，然生得腰圆背厚，面阔口方，更兼剑眉星眼，直鼻方腮。&lt;br /&gt;
Here in the rain village, I turned to poetry books to relieve my boredom. Suddenly I heard a woman coughing outside the window. Yucun then got up and looked out. It turned out that it was a servant girl pinching flowers there: Sheng's appearance was not vulgar and his eyebrows were beautiful. Although he was not very beautiful, he was also moving. Yucun was stunned. The Zhen servant girl pinched the flowers. When Fang was about to leave, she suddenly looked up and saw someone in the window: Although I was poor and embarrassed, I had a round waist, thick back, wide face and square mouth. I also had sword eyebrows, star eyes, straight nose and square cheeks.&lt;br /&gt;
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Yuncun was reading poems to relieve his boredom, suddenly hearing a girl outside the window coughing. Yucun stood up and found a housemaid picking flowers: she was of good appearance and pretty features. Although she was not perfect, she had something touching. Yucun felt stunned. The girl had pinched the flowers and was about to leave when she suddenly raised her head and saw someone in the window. In rags, he had a round waist and a thick back, a wide face and a square mouth, with a sword eyebrow and star eyes, a straight nose and a square cheek.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:14, 24 November 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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这丫鬟忙转身回避，心下自想：“这人生的这样雄壮，却又这样褴褛。我家并无这样贫窘亲友，想他定是主人常说的什么贾雨村了。怪道又说他必非久困之人，每每有意帮助周济他，只是没什么机会。”如此一想，不免又回头一两次。雨村见他回头，便以为这女子心中有意于他，遂狂喜不禁，自谓此女子必是个巨眼英豪，风尘中之知己。&lt;br /&gt;
The housemaid turned away quickly and said to herself:” the man is so grand and ragged. I don’t have such deprived friends and relatives, thus he must be Rain Village Merchant that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has meant to help him but doesn’t find a proper chance.”  At the thought of this, she looked back for several times, which misled Rian Village to think the girl was attracted by him and felt very excited. He believed that the girl must have  a pair of wisdom eye and was his true friend in difficulty.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 02:16, 24 November 2021 (UTC)&lt;br /&gt;
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The housemaid turned away hurriedly and thought to herself:” the man is so strong, but his clothes are shabby. I don’t have such deprived friends and relatives, thus he must be Jia Yucun that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has always meant to help him but doesn’t find a proper chance.”  At the thought of this, she looked back for several times, which misled Yu Cun to think the girl was attracted by him and felt very excited. He believed that the girl must have a good taste and was his true friend in difficulty.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:27, 24 November 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时小童进来，雨村打听得前面留饭，不可久待，遂从夹道中，自便门出去了。士隐待客既散，知雨村已去，便也不去再邀。一日，到了中秋佳节。&lt;br /&gt;
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When a child came in, Rainvillage heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Hidden Truth had already served guests, knowing that Rainvillage had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.&lt;br /&gt;
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When a child came in, Rainvillage heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Hidden Truth had already served guests, knowing that Rainvillage had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:53, 26 November 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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士隐家宴已毕，又另具一席于书房，自己步至庙中来邀雨村。原来雨村自那日见了甄家丫鬟曾回顾他两次，自谓是个知己，便时刻放在心上。今又正值中秋，不免对月有怀，因而口占五言一律云：&lt;br /&gt;
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Shiiyin‘s family banquet has been completed, and another seat in the study, he came to the temple to invite Yucun. It turns out that since that day Yucun saw the Zhen family maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:51, 26 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth's family banquet has been completed, and another seat in the study, he came to the temple to invite Rainvillage Merchant. It turns out that since that day Yucun saw the Family of Zhen maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 11:23, 29 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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未卜三生愿，频添一段愁。闷来时敛额，行去几回头。自顾风前影，谁堪月下俦？蟾光如有意，先上玉人楼。&lt;br /&gt;
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I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.&lt;br /&gt;
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I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 12:02, 28 November 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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雨村吟罢，因又思及平生抱负，苦未逢时，乃又搔首对天长叹，复高吟一联云：玉在椟中求善价，钗于奁内待时飞。恰值士隐走来听见，笑道：“雨村兄真抱负不凡也！”&lt;br /&gt;
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After Rainvillage Merchant finished reciting the love poems of Lucky, he thought of his great ambitions and thought that he had not met a good time, so he recited a pair of couplets that he created aloud: &amp;quot;Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role.&amp;quot; Just when Hidden Truth came to hear it, Shiyin smiled and said, &amp;quot;Brother Rainvillage Merchant is really ambitious!&amp;quot;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:38, 24 November 2021 (UTC)&lt;br /&gt;
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After Rainvillage Merchant finished reciting the love poems of Lucky, he thought of his great ambitions and thought that he had not met a good time, so he recited aloud a pair of couplets that he created: &amp;quot;Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role.&amp;quot; Just when Hidden Truth came to hear it, Shiyin smiled and said, &amp;quot;Rainvillage Merchant is really ambitious!&amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 16:53, 28 November 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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雨村忙笑道：“不敢。不过偶吟前人之句，何期过誉如此！”因问：“老先生何兴至此？”士隐笑道：“今夜中秋，俗谓团圆之节。想尊兄旅寄僧房，不无寂寥之感。故特具小酌，邀兄到敝斋一饮。不知可纳芹意否？”&lt;br /&gt;
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Rainvillage Merchant laughed and hurriedly said, &amp;quot;No no, I just recite the words of the predecessors. You speak too highly of me!&amp;quot; he asked, &amp;quot;Why did you come here, sir?&amp;quot; Hidden Truth smiled, &amp;quot;Tonight is the reunion time of Mid Autumn Festival. You lodged with a monk's room alone. So I come to invite you to have a drink with me. What do you think?&amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:51, 21 November 2021 (UTC)&lt;br /&gt;
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&amp;quot;Why did you come here, master?&amp;quot;&lt;br /&gt;
You are lodged with a monk's room alone. --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 02:18, 29 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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雨村听了，并不推辞，便笑道：“既蒙谬爱，何敢拂此盛情！”说着，便同士隐复过这边书院中来了。须臾茶毕，早已设下杯盘，那美酒佳肴，自不必说。&lt;br /&gt;
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Hearing this, Rainvillage Merchant did not refuse, but said with a smile: &amp;quot;Since I am indebted to you, I dare not live up to this feeling.&amp;quot; Then he and  Hidden Truth came to the academy here. In a moment they had finished their tea, and a feast had already been set up, with wine and food, in which the delicacy was all.&lt;br /&gt;
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They went to the court in front of Hidden Truth 's study. Soon they had fin rished their tea and sat down to a collation of choice wine and delicacies.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 11:36, 28 November 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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二人归坐，先是款酌慢饮；渐次谈至兴浓，不觉飞觥献斝起来。当时街坊上家家箫管，户户笙歌；当头一轮明月，飞彩凝辉。二人愈添豪兴，酒到杯干。&lt;br /&gt;
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At first, they drank slowly,but their spirits rose as they talked and they began to drink more recklessly.  At that time, Flutes and  strings can be heard everywhere and every family in the neighborhood was singing; When a bright moon rises, The two became more and more cheerful, and the wine dried cup up.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:26, 27 November 2021 (UTC)&lt;br /&gt;
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At first, they drank slowly,but their spirits rose as they talked in depth， they began to drink more recklessly.  At that time, the sound of flutes and  strings can be heard everywhere and every family in the neighborhood was playing and singing; When a bright moon rises, The two became more and more cheerful and drained cup after cup.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 11:39, 28 November 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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雨村此时已有七八分酒意，狂兴不禁，乃对月寓怀，口占一绝云：时逢三五便团圆，满把清光护玉栏。天上一轮才捧出，人间万姓仰头看。士隐听了，大叫：“妙极！弟每谓兄必非久居人下者，今所吟之句，飞腾之兆已现，不日可接履于云霄之上了。可贺，可贺！”&lt;br /&gt;
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Rainvillage Merchant, eight-tenths drunk, cannot suppress his high spirits. As he gazed at the moon, he fostered thoughts, to which he gave vent by the recital of a double couplet.&lt;br /&gt;
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&amp;quot;On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight.&amp;quot; &lt;br /&gt;
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&amp;quot;Excellent!&amp;quot; cried Hidden Truth with a loud voice, after he had heard these lines; &amp;quot;I have repeatedly maintained that it was impossible for you to  remain in a subordinate position for a long period, and now the verses are a prognostic of your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you.&amp;quot;！&lt;br /&gt;
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Rainvillage Merchant, eight-tenths drunk, cannot suppress his elation. As he gazed at the moon, he improvised a poetry to the moon and declaimed it:&lt;br /&gt;
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&amp;quot;On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight.&amp;quot; &lt;br /&gt;
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&amp;quot;Excellent!&amp;quot; cried Hidden Truth with a loud voice, after he had heard these lines; &amp;quot;I have repeatedly maintained that it was impossible for you to  remain in a subordinate position for a long period, and now the verses reveals your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you.&amp;quot;！--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:36, 28 November 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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乃亲斟一斗为贺。雨村饮干，忽叹道：“非晚生酒后狂言，若论时尚之学，晚生也或可去充数挂名。只是如今行李路费，一概无措，神京路远，非赖卖字撰文，即能到得。”士隐不待说完，便道：“兄何不早言？弟已久有此意，但每遇兄时，并未谈及，故未敢唐突。今既如此，弟虽不才，‘义利’二字，却还识得。且喜明岁正当大比，兄宜作速入都，春闱一捷，方不负兄之所学。其盘费馀事，弟自代为处置，亦不枉兄之谬识矣。”&lt;br /&gt;
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Hidden Truth filled another large cup of alcohol. Rainvillage Merchant tossed it off and then signed. &amp;quot;Don't think this is just a talk after being drunk,&amp;quot; he said, &amp;quot;I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money by selling my words and articles ....&amp;quot; &amp;quot;Why didn't you say so before?&amp;quot; interjected Shiyin. &amp;quot;I've always thought about this, but since you never mentioned it it is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a firend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you.&amp;quot;--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:28, 28 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth filled another large cup of alcohol for congratulation. Rainvillage Merchant tossed it off and then sighed: &amp;quot;Don't think this is just a talk after drinking. I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money only by selling my words and articles ....&amp;quot; &amp;quot;Why didn't you say that before?&amp;quot; interjected Hidden Truth. &amp;quot;I've always thought about this, but since you never mentioned it.It is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a real friend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you.&amp;quot;--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:43, 28 November 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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当下即命小童进去，速封五十两白银并两套冬衣。又云：“十九日乃黄道之期，兄可即买舟西上。待雄飞高举，明冬再晤，岂非大快之事！”雨村收了银、衣，不过略谢一语，并不介意，仍是吃酒谈笑。&lt;br /&gt;
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Hidden Truth immediately ordered the child to go in and quickly seal fifty liang silver and two sets of winter clothes. And he also said, &amp;quot;the 19th of March is the time of the zodiac, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?&amp;quot; Rainvillage Merchant received the silver and clothes, but he thanked Hidden Truth a little. He didn't mind and was still drinking wine, talking and laughing.&lt;br /&gt;
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[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:23, 21 November 2021 (UTC)&lt;br /&gt;
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Shiyin immediately ordered the child in and seal fifty liang silver and two suits of winter clothes quickly. Then he said, &amp;quot;the 19th of March is favorable time, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?&amp;quot; Yucun received the silver and clothes, but he thanked Shiyin a little. He didn't mind and was still drinking wine, talking and laughing.&lt;br /&gt;
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[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:15, 23 November 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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那天已交三鼓，二人方散。士隐送雨村去后，回房一觉，直至红日三竿方醒。因思昨夜之事，意欲写荐书两封与雨村，带至都中去，使雨村投谒个仕宦之家，为寄身之地。&lt;br /&gt;
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Jia Yunchun and Zhen Shiyin drank until midnight and then dispersed. Zhen Shiyin sent Jia Yuchun bedchamber and went back his room to sleep. He didn't wake up until the late morning. Considering Zhen Shiyin's bad conditions, Zhen Shiyin intended to write two recommendation letters for Jia Yuchun, so Jia Yuchun could take and deliver it to a family of dignities in Qi Zhou city to find a place to stay.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:10, 25 November 2021 (UTC)&lt;br /&gt;
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These two friends drank until midnight and then left. Zhen Shiyin sent Jia Yuchun back to his bedchamber and headed back to sleep. He didn't wake up until the noon time. Zhen Shiyin intended to write two recommendation letters for Jia Yuchun considering his bad condition, so Jia Yuchun could take and deliver it to some family of dignities in Qi Zhou city to find a fine place to settle.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:11, 29 November 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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因使人过去请时，那家人回来说：“和尚说：贾爷今日五鼓已进京去了，也曾留下话与和尚转达老爷，说：‘读书人不在黄道黑道，总以事理为要，不及面辞了。’”士隐听了，也只得罢了。真是闲处光阴易过，倏忽又是元宵佳节。&lt;br /&gt;
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The family came back and said, “The monk said: The Five Drums of Master Jia has entered Beijing today, and he also left a message with the monk to convey to the master, saying:'The scholar is not in the zodiacal and underworld, and he always takes affair as the priority. , It's too late to resign.'&amp;quot; Shiyin listened and had no choice but to leave. It's really easy to spend leisure time, and suddenly it is the Lantern Festival.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 13:21, 28 November 2021 (UTC)&lt;br /&gt;
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When the family came back, they said, &amp;quot;The monk said that Master Merchant had gone to the capital between three and five o'clock today, and had left a message for the monk to convey to you, saying, 'No matter what the background of a scholar is, it is always important to take care of things, so it is too late to say goodbye.'&amp;quot; When Hidden Truth heard this, he had no choice but to do nothing. It was easy to spend time at leisure, and suddenly it was the Lantern Festival again.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 13:36, 28 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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士隐令家人霍启抱了英莲，去看社火花灯。半夜中霍启因要小解，便将英莲放在一家门槛上坐着。待他小解完了来抱时，那有英莲的踪影。&lt;br /&gt;
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Zhen Shiyin asked his family member Huo Qi to carry Yinglian and go to see the lanterns. In the middle of the night, Huo Qi had to take a piss, so he left Yinglian sitting on the threshold of a door. When he came to carry her after taking a piss, there was no sign of Yinglian.&lt;br /&gt;
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Hidden Truth asked his family member trouble beginner to carry  Pity Zhen and go to see the lanterns. In the middle of the night, trouble beginner left Pity Zhen alone sitting on the threshold of a door because of the urgency of urinating. When he came back, Pity Zhen disappeared.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:11, 27 November 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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急的霍启直寻了半夜，至天明不见。那霍启也不敢回来见主人，便逃往他乡去了。那士隐夫妇见女儿一夜不归，便知有些不好。再使几人去找寻，回来皆云影响全无。&lt;br /&gt;
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Huo Qi was so anxious that he looked for her all night and did not find her by dawn. So he did not dare to return to meet the host and he fled to his hometown. Hidden Truth and his wife felt something is about to go wrong when they found their daughter didn't go home all night.  They sent more people to look for her, but when they came back they said they didn't have any trace of her.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 14:22, 21 November 2021 (UTC)&lt;br /&gt;
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Being so anxious, Inspire Huo looked for her all night but in vain till dawn. Dare not to return to his master, he fled to another place. Hidden Truth and his wife felt something wrong when their daughter didn't go home all night. More people were sent to look for her, but only to find no trace of her.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:11, 22 November 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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夫妻二人半世只生此女，一旦失去，何等烦恼，因此昼夜啼哭，几乎不顾性命。看看一月，士隐已先得病，夫人封氏也因思女搆疾，日日请医问卦。不想这日三月十五，葫芦庙中炸供，那和尚不小心，油锅火逸，便烧着窗纸。&lt;br /&gt;
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The couple, having spent half of their lifetime, couldn't bear the thought of losing their only child. They wept day and night, almost risking their lives. In January, Hidden Truth was already sick, and his wife Feng also fell ill for missing her daughter excessively and had to see doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:57, 22 November 2021 (UTC)&lt;br /&gt;
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The couple, having spent half of their lifetime, couldn't bear the annoyance of losing their only daughter. They wept all days and nights, almost risking their lives. In January, Hidden Truth was already sick, and his wife Feng also got ill for missing her daughter excessively and had to call the doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:11, 28 November 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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此方人家俱用竹篱木壁，也是劫数应当如此，于是接二连三，牵五挂四，将一条街烧得如火焰山一般。彼时虽有军民来救，那火已成了势了，如何救得下，直烧了一夜方熄，也不知烧了多少人家。只可怜甄家在隔壁，早成了一堆瓦砾场了，只有他夫妇并几个家人的性命不曾伤了，急的士隐惟跌足长叹而已。&lt;br /&gt;
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This family deserves this fate for using bamboos and wood as hedge. One by one, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. Poor Hiden Truth's house next door had turned into a pile of rubble, only the couple and the families unhurt, which made Hidden Truth anxious and sigh deeply.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 14:44, 22 November 2021 (UTC)&lt;br /&gt;
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This family deserved this fate for using bamboos and wood as hedge. One house by one house, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. The fire had turned Poor Zhen's house next door into a pile of rubble, only the couple and several families unhurt, which made Zhen Shiyin anxious and sigh deeply.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:47, 24 November 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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与妻子商议，且到田庄上去住。偏值近年水旱不收，贼盗蜂起，官兵剿捕，田庄上又难以安身。只得将田地都折变了，携了妻子与两个丫鬟，投他岳丈家去。&lt;br /&gt;
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He discussed with his wife, and went to live on the farm. However, in recent years, harvests have been ruined by flood and drought, and thieves and robbers have been rising. It was difficult to settle down on the farm. He had to sell his lands at a discount and took his wife and two maids to seek his father-in-law's help.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:42, 24 November 2021 (UTC)&lt;br /&gt;
Take counsel with his wife, and come to live at the Grange. Partial value in recent years flood and drought do not harvest, thieves bee, officers and soldiers suppression, the grange and difficult to live. He had to change the land and went to his husband's house with his wife and two maids.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:22, 28 November 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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他岳丈名唤封肃，本贯大如州人氏，虽是务农，家中却还殷实。今见女婿这等狼狈而来，心中便有些不乐。幸而士隐还有折变田产的银子在身边，拿出来托他随便置买些房地，以为后日衣食之计。&lt;br /&gt;
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His father-in-law's name was Feng Su. His native place was  Such State. Although he was a farmer, his family was well off. Now, seeing her son-in-law come in such a discomfiture, I felt unhappy. Fortunately, there are hidden converted field of silver in the side, took out to entrust him to buy some premises, that the day after the means of food and clothing.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:19, 21 November 2021 (UTC)&lt;br /&gt;
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His father-in-law's name was Feng Su, who was originally from Daru State. Although he was a farmer, his family was well off. Now, seeing his son-in-law come in such a discomfiture, he felt unpleasant inside. Fortunately, there are hidden silver of converted field by his side, so he took it out to entrust him to purchase some premises for buying food and clothing in the future.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:40, 28 November 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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那封肃便半用半赚的，略与他些薄田破屋。士隐乃读书之人，不惯生理稼穑等事，勉强支持了一二年，越发穷了。封肃见面时，便说些现成话儿；且人前人后，又怨他不会过，只一味好吃懒做。&lt;br /&gt;
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Feng Su made money while using some of it, and provided small fields and a shabby house with him. Shi Yin was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:34, 28 November 2021 (UTC)&lt;br /&gt;
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Feng Su made money while using some of it, and provided small fields and a shabby house with him. Hidden Truth was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 12:15, 28 November 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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士隐知道了，心中未免悔恨；再兼上年惊唬，急忿怨痛：暮年之人，那禁得贫病交攻，竟渐渐的露出那下世的光景来。可巧这日拄了拐，扎挣到街前散散心时，忽见那边来了一个跛足道人，疯狂落拓，麻鞋鹑衣，口内念着几句言词道：&lt;br /&gt;
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When Hidden Truth found out about this, he felt remorse in his heart; he was also frightened of the previous year, and he felt angry and resentful: a man in his twilight years, who could not help being attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with sackcloth shoes and quails, reciting a few words under his breath.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:26, 22 November 2021 (UTC)&lt;br /&gt;
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When Hidden Truth found out this, he felt remorse in his heart; he was also frightened of the previous year, angry and resentful: a man in his twilight， who could not be able to be attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with ragged shoes and clothes，reciting a few words under his breath.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 07:00, 22 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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世人都晓神仙好，惟有功名忘不了。古今将相在何方？荒冢一堆草没了。世人都晓神仙好，只有金银忘不了。终朝只恨聚无多，及到多时眼闭了。&lt;br /&gt;
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The common people know that immortals are good, but they can't forget their achievements and fame. Where are the generals and prime ministers from ancient times to the present？What we can see are just deserted graves full of grass. The common people  know that immortals are good, but they can‘t forget gold and silver. Till the end of life，they would regret their inability to create as much wealth as possible when they are alive and regret they are going to the heaven after they have accumulated plenty of wealth.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 02:42, 21 November 2021 (UTC)&lt;br /&gt;
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All the common people know that immortals are good, but they can't forget their achievements and ambitions. Where are the great ones of old？They are just deserted graves full of grass. All the common people know that immortals are good, but they can‘t forget gold and silver. They grub for money all their lives until death seals up their eyes.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 07:24, 21 November 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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世人都晓神仙好，只有姣妻忘不了。君生日日说恩情，君死又随人去了。世人都晓神仙好，只有儿孙忘不了。痴心父母古来多，孝顺子孙谁见了？&lt;br /&gt;
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All men want to be immortals, but dote on the wives they’ve married. Those who swear to love their husband forever, but  remarry as soon as he’s dead. All men want to be immortals, but dote on the sons they’ve gotten. Although infatuated parents are numerous, who ever saw really filial sons or daughters?--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 21 November 2021 (UTC)&lt;br /&gt;
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Everyone in the world knows that the gods are good, but only the pretty wife can't forget. You swear to remember your husband’s  kindness, but when your husband die, you go away with others. Everyone knows that the gods are good, but only the children and grandchildren cannot be forgotten. There are many loving parents in the past, but who has seen the filial children?--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:04, 22 November 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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士隐听了，便迎上来道：“你满口说些什么？只听见些‘好’、‘了’，‘好’、‘了’。”那道人笑道：“你若果听见‘好’、‘了’二字，还算你明白。可知世上万般，好便是了，了便是好：若不了，便不好；若要好，须是了。我这歌儿便叫《好了歌》。&lt;br /&gt;
When the hermit heard it, he came up and said, &amp;quot;What are you talking about ?&amp;quot; I just hear 'Hao’ (means good), 'Liao' (means end) 'Hao’, ‘Liao'. The man laughed, &amp;quot;If you hear the words 'Hao' and 'Liao', you understand it. In this world, good is end, and the end is good. If there is no end, there is no good, and vice versa. My song is called ‘The Song of ‘Hao’ and ‘ Liao’. ”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 08:54, 22 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth came over after heard this and said: “ What are you talking about? I just hear the words ‘good’ and ‘end’.” That man laughed, “ You heard the words ‘good’ and ‘end’, that means you got a few things going for you. In this world, good is end, and end is good. If there is no end, there is no good, and vice versa. My song is called ''All Dood Things Must End''.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 12:19, 22 November 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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士隐本是有夙慧的，一闻此言，心中早已悟彻，因笑道：“且住，待我将你这《好了歌》注解出来何如？”道人笑道：“你就请解。”士隐乃说道：陋室空堂，当年笏满床。&lt;br /&gt;
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So intelligent, Hidden Truth understood the essence of the song entirely in his head as soon as he heard it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of beds and boards used by dignitaries at that time.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:01, 22 November 2021 (UTC)&lt;br /&gt;
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So intelligent as Hidden Truth is, he  understood the essence of the song entirely in his head as soon as once hearing it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of boards used by  courtiers at that time.”--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:23, 23 November 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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衰草枯杨，曾为歌舞场。蛛丝儿结满雕梁，绿纱今又在蓬窗上。说甚么脂正浓，粉正香，如何两鬓又成霜？&lt;br /&gt;
Humble hovels and abandoned halls where courtiers once paid daily calls；Bleak places where weeds and trees scarcely thrive&lt;br /&gt;
were once with a show of peace and prosperity．When cobwebs cover the mansion’s gilded beams，and collage casement with choice muslin gleams．Would you of perfumed elegance recite? Even as you speak, the raven locks turn white．--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 23 November 2021 (UTC)&lt;br /&gt;
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Withered grass and withered poplar, This used to be a place where people sang and danced. The spider silk is full of carved beams, but the green gauze is on the simple window. The fat is thick and the powder is fragrant, how the temples become the color of frost?--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:20, 25 November 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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昨日黄土陇头埋白骨，今宵红绡帐底卧鸳鸯。金满箱，银满箱，转眼乞丐人皆谤。正叹他人命不长，那知自己归来丧。&lt;br /&gt;
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Yesterday the bones were buried in the loess, and the mandarin ducks(allusions to couples) lie under the red silk tent tonight. Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighing that the lives of others are not long, and I know I'm back to be mourned.&lt;br /&gt;
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Yesterday the bones were buried in the loess, then tonight it is the time for a newly married couple to sleep behind bed curtains with burning red candle lights.Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighed that the lives of others are not long, but failed to predict my own future after return from the funeral.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:36, 28 November 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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训有方，保不定日后作强梁；择膏粱，谁承望流落在烟花巷。因嫌纱帽小，致使锁枷扛；昨怜破袄寒，今嫌紫蟒长。乱烘烘，你方唱罢我登场，反认他乡是故乡。&lt;br /&gt;
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Though she was well educated according to her parent's plan, one can become a bandit later. She tried her best to marry into a rich family. However, she ended up in a (red-light)? district beyond everyone's expectation. People who are not satisfied with their positions have to spend the rest of their life in a prison in chains. People who used to be very poor and used worn coats to resist the cold were not satisfied with fancy clothes after they became rich. I come on the stage as soon as you have finished your singing in a chaotic manner. Taking other's hometown as my own. --[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:42, 22 November 2021 (UTC)--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:56, 23 November 2021 (UTC)&lt;br /&gt;
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If properly educated under parents' guidance, one can probabaly become a bandit later. Although trying her best to marry a rich man, she ends up with a driftage in the red-light district beyond everyone's expectation. People's unsatisfication with their positions leads to their miserable life in prison with chains on their bodies. People who used to be very poor and used worn coats to resist the cold were not satisfied with gorgeous clothes any more when they became rich. In noisy disorder, you just finished and I come on the scene.Instead, taking other's hometown as my own.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 15:17, 25 November 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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甚荒唐，到头来，都是为他人作嫁衣裳。那疯跛道人听了，拍掌大笑道：“解得切，解得切！”士隐便说一声：“走罢。”&lt;br /&gt;
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It's so ridiculous. In the end, they made wedding clothes for others. Hearing this, the crazy lame Taoist clapped his hands and laughed, saying &amp;quot;All right, all right !&amp;quot; Then Shiyin said, &amp;quot;let's go.&amp;quot;&lt;br /&gt;
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It's ridiculous. In the end, they make wedding clothes for others. The crazy lame Taoist listened, clapped his hands and laughed and said, &amp;quot;it's right, it's right!&amp;quot; Shiyin said, &amp;quot;let's go.&amp;quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:43, 21 November 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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将道人肩上的搭裢抢过来背上，竟不回家，同着疯道人飘飘而去。当下哄动街坊，众人当作一件新闻传说。封氏闻知此信，哭个死去活来。&lt;br /&gt;
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He grabbed the lap on the Taoist's shoulder and carried it on his back. He didn't go home and floated away with the crazy Taoist. At that moment, the neighborhood was stirred up and everyone regarded it as a news legend. When Feng heard this letter, he cried to death.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:34, 21 November 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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只得与父亲商议，遣人各处访寻，那讨音信。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无奈何，只得依靠着他父母度日。&lt;br /&gt;
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He was so helpless that he had to rely on his parents to survive.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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幸而身边还有两个旧日的丫鬟伏侍，主仆三人，日夜作些针线，帮着父亲用度。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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那封肃虽然每日抱怨，也无可奈何了。&lt;br /&gt;
Although Feng Su complained every day, he was helpless&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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这日那甄家的大丫鬟在门前买线，忽听得街上喝道之声。&lt;br /&gt;
The other day, the eldest maid of the Chen family was buying thread at the door when she heard a shout from the street.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:50, 23 November 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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众人都说：“新太爷到任了。”&lt;br /&gt;
Everyone said: &amp;quot;The new grandfather has arrived&amp;quot;&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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丫鬟隐在门内看时，只见军牢、快手一对一对过去，俄而大轿内抬着一个乌帽猩袍的官府来了。&lt;br /&gt;
When the maid concealed in the door, she saw the military jail and quick hands passing one by one, and the official mansion carrying a black hat and ape robe came in the big sedan chair.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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那丫鬟倒发了个怔，自思：“这官儿好面善，倒像在那里见过的。”&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;&lt;br /&gt;
The maid was startled, and thought to herself: &amp;quot;This official is so good-natured, but it looks like someone I've seen there.&amp;quot;&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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于是进入房中，也就丢过，不在心上。&lt;br /&gt;
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Then she went into the room and laid the matter aside ，without taking it to heart.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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至晚间正待歇息之时，忽听一片声打的门响，许多人乱嚷，说：“本县太爷的差人来传人问话！”&lt;br /&gt;
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English:&lt;br /&gt;
When I was about to rest in the evening, I heard a bang on the door suddenly, and many people shouted in disorder, saying, &amp;quot;The county's grandfather's messenger is here for questioning!&amp;quot;&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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封肃听了，唬得目瞪口呆。&lt;br /&gt;
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Fengsu hear it,he gaped in consternation --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:28, 22 November 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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不知有何祸事，且听下回分解。&lt;br /&gt;
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Don't know something calamity happened, will describe in the ensuing chapter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:36, 21 November 2021 (UTC)&lt;br /&gt;
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If you don't know what calamity took place, listen to the break down given in the next chapter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:54, 21 November 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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通灵──“通灵宝玉”的简称。Psychic--short for ''Psychic Treasure.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:48, 21 November 2021 (UTC)&lt;br /&gt;
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Psychic -- the abbreviation for &amp;quot;Psychic Treasure&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:35, 24 November 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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亦即下文所说女娲炼石补天所剩的那块“顽石”，因其历经锻炼而“灵性已通”，并能幻化为贾宝玉，故称。&lt;br /&gt;
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That is to say, the &amp;quot;stubborn stone&amp;quot; left by Nüwa's refining stone to replenish the sky. As it has undergone training, it has &amp;quot;spiritual achievement&amp;quot; and can be transformed into Jia Baoyu, so it is called. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:48, 24 November 2021 (UTC)&lt;br /&gt;
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That is to say, the &amp;quot;stubborn stone&amp;quot; left by Nüwa's refining stone to replenish the sky, because it has undergone training, has &amp;quot;spiritually achieved&amp;quot; and can be transformed into Jia Baoyu, so it is called.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:10, 24 November 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《石头记》──此书的本名。&lt;br /&gt;
&amp;quot;Story of the Stone&amp;quot; - the original name of the book. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:26, 24 November 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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''The Story of the Stone'' is the name of the book.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:23, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211013_homework&amp;diff=135001</id>
		<title>20211013 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211013_homework&amp;diff=135001"/>
		<updated>2021-12-30T14:12:52Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘胜楠 Liú Shèngnán 翻译学 女 202120081506 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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康、雍、乾三朝时期的汉书翻译及其文化统制意涵*&lt;br /&gt;
摘要：清代的汉书翻译是统治者了解、学习和接纳汉文化的重要途径。与清初文化政策的其它单元一样，如官修史书、国语骑射、思想控制等，汉书的翻译、刊刻与颁行也是清代中、前期诸帝治术的独特构成。&lt;br /&gt;
On the Translation of ''the Book of Han'' and its Connotation of Cultural Controlling During the Kang-Yong-Qian Period of the Qing Dynasty(683——1796)&lt;br /&gt;
Abstract: The translation of ''the Book of Han'' is the important approach for the governor to understand, study and accept the Culture of Han. Like other units of cultural policy in the early Qing Dynasty(Official History Books Policy, Manchu National Language and Ride Policy, Thought Control Policy, etc.), the translation, publication, and promulgation of ''the Book of Han'' were also unique components of the emperors' tactics in the middle and early Qing dynasties. --[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 10:51, 12 October 2021 (UTC)&lt;br /&gt;
The translation of Han books in the Kang Xi,Yong Zheng and Qian Long dynasties and its implication of cultural control * Abstract: The translation of Han books in the Qing Dynasty is an important way for rulers to understand, learn and accept Han culture. Like other units of cultural policy in the early Qing Dynasty, such as official history books, national language,riding and shooting, ideological control, etc.the translation, publication and promulgation of Han books are also the unique composition of the governance of emperors in the middle and early Qing Dynasty.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 02:23, 13 October 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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康、乾、雍三朝期间，汉书翻译规模不断扩大，主题日益丰富，目的更加明确，为满洲统治者走出“我族”意识，实现满、汉之间的文化接轨与观念沟通，建构并巩固满洲政权的治统与道统等，做出了重要贡献。汉书翻译的开展与推进源于特定的历史语境，与三朝统治者长期以来耽于汉籍，力主道德教化关系甚巨。自起始之日起，汉书翻译便被赋予德治与教化功能，其目的不是为了“以夷变夏”，或者“以夏变夷”，而是为了在满、汉之间进行交流、沟通与互鉴，政治意义与文化意涵并存。&lt;br /&gt;
During the three dynasties of Kang Zheng ,Qian Long and Yong Zheng,the scale of Chinese translation continued to expand, the theme became richer and the purpose became more clear, which made important contributions to the Manchu rulers to get out of the consciousness of &amp;quot;my family&amp;quot;, achieve the cultural integration and conceptual communication between Manchu and Han, and construct and consolidate the governance and Taoism of Manchu regime. The development and promotion of Chinese translation originates from the specific historical context. It has a compact relationship with the rulers of the three dynasties who have been big on Chinese books and advocated moral education for a long time. Since its inception, the translation of Chinese books has been endowed with the function of rule of virtue and education. Its purpose is not to &amp;quot;change Foreign into  Xia &amp;quot; or &amp;quot;change Xia into Foreign &amp;quot;, but to communicate and learn from each other between Manchu and Han. Its political significance and cultural meaning coexist.--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 05:17, 12 October 2021 (UTC)&lt;br /&gt;
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During the three dynasties of Kang Zheng ,Qian Long and Yong Zheng,the scale of Chinese translation continued to expand, the theme became richer and the purpose became more clear, which made important contributions to the Manchu rulers to get out of the consciousness of &amp;quot;Isolated national consciousness&amp;quot;, achieve the cultural integration and conceptual communication between Manchu and Han, and construct and consolidate the governance and Confucianism of Manchu regime. The development and promotion of Chinese translation originates from the specific historical context. It has a compact relationship with the rulers of the three dynasties who have been indulge in Chinese books and advocated moral education for a long time. Since its inception, the translation of Chinese books has been endowed with the function of rule of virtue and education. Its purpose is not to influence the Chinese nation by other nationalities, or assimilate other nationalities by the Chinese nation which based on the theory of “guarding against the barbarians or the foreigners”,but to communicate and learn from each other between Manchu and Han. Its political significance and cultural meaning coexist.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:26, 13 October 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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关键词：汉书翻译； 文化沟通； 治术； 治统； 道统&lt;br /&gt;
导论：清初翻译汉书，实有不得已的情由。满洲以少数族群统摄中原，虽然历代君主强调“敬天”、“法祖”，遵循历史经验，然而满洲文化除了“国语骑射”之外，整体简陋贫乏，因此欲从自身民族历史、文化中寻求借镜，必会遭遇不敷应用的困境。&lt;br /&gt;
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KEY WORDS：Han Classic’s translation; Culture Comunication; Governmentality; Governance Tradition; Confucianism&lt;br /&gt;
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Introduction: In the early period of Qing Dynasty, Han Classic’s translation is actually a compelling need. Manchu once governed the Central Plains of China by Ethnic minorities. Although China’s Successive monarchs emphasised concepts of “respecting the God” , “learning from ancestor”, and “following history rules”, but, in addition to the &amp;quot;Manchu language, horse-riding and archery&amp;quot;, Manchu culture in general appeared poor. As a result, if they want to learn from their own national history and culture, they will encounter the dilemma of insufficient application.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:07, 13 October 2021 (UTC)&lt;br /&gt;
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Key Word：Han Classic’s translation; Culture Comunication; Governmentality; Governance Tradition; Confucianism&lt;br /&gt;
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Introduction: In the early period of Qing Dynasty, Han Classic’s translation was actually a compelling need. Manchu once governed the Central Plains of China by Ethnic minorities. Although China’s successive monarchs emphasised concepts of “respecting the God” , “learning from ancestor”, and “following history rules”, however. in addition to the &amp;quot;Manchu language, horse-riding and archery&amp;quot;, Manchu culture in general appeared poor. As a result, if they want to learn from their own national history and culture, they will encounter the dilemma of insufficient application.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 10:35, 20 October 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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为了在征服和统治过程中有效运用历史经验，并将其正当化与合法化，汉文化的撷取成为不二选择，而汉籍的翻译便是实现这一目的的重要手段。例如建元初年，太祖努尔哈赤称汗之后，即命大臣翻译汉籍，进讲汉文经史，以便了解汉族历史。继位的太宗皇帝更是性嗜典籍，披览弗倦，有着丰富的汉族历史知识，不仅深明《金史》与《三国志传（通俗演义）》等，认为二者使其耳目明快，而且接纳汉官建议，效法太祖命人翻译汉籍，并通过翻译吸收历史知识，将其运用至现实政治实践中，巩固并扩展政权的统治基础。&lt;br /&gt;
In order to effectively use historical experience in the process of conquering and governing and to justify and legitimize it, the extraction of Han Culture is the only means and the translation of Han Classics is an important way to achieve this goal. For exemple, in the early years of the Founding Yuan Dynasty, the offspring of Taizu Nurhaci asked the ministers to translate Han Classics and talk about the history of Chinese books to gain more acquaitance of the history of Han people. Emperor Taizong who succeeded to the throne was even more addicted to classics. He had a wealth of historical knowledge of the Han nationality. He not only had a deep understanding of ''Jin Shi'' and ''Three Kingdoms'' , etc., but also he believed that they both made his ears and eyes bright and clear so that he can accept the suggestions of Han officials, follow the example of Taizu's orders to translate Chinese Classics, absorb historical knowledge through translation, and apply it to practical political practice to consolidate and expand the ruling foundation of the regime.&lt;br /&gt;
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In order to effectively use historical experience in the process of conquering and governing and to justify and legitimize it, the extraction of Han Culture is the only means and the translation of Han Classics is an important way to achieve this goal. For exemple, in the early years of the Founding Yuan Dynasty, Emporer Taizu Nurhaci asked the ministers to translate Han Classics and talk about the history of Chinese books to gain more acquaitance of the history of Han people. His son Emperor Taizong who succeeded to the throne was even more addicted to classics. He not only had a wealth of historical knowledge of the Han nationality and a deep understanding of ''Jin Shi'' and ''Three Kingdoms'' , etc.,  in believing that they both made his ears and eyes bright and clear,but also he accepted the suggestions of Han officials to follow the example of Taizu's orders to translate Chinese Classics. And through absorbing historical knowledge,he applied it to practical political practice to consolidate and expand the ruling foundation of the regime.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:29, 12 October 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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太宗对于汉书的翻译屡有训示，要求“读史致用”，翻译的书籍要么属于“勤于求治而国祚昌隆”者，要么则属于“所行悖道而统绪废坠”者，总之必须关乎朝政之要务。[1]9 ([1](清)鄂尔泰等.清实录·太宗文皇帝实录[Z].北京：中华书局，1985.）太宗之后，冲幼即位的顺治帝同样“嗜观史书”，并采纳大学士希福建议，效仿太宗“鉴古之心”，颁赐《辽》、《金》、《元》三史译本，以明政治之得失，民生之休戚，国家之治乱。[2]15-16&lt;br /&gt;
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The Taizong Emporer had his requirement to the translation of Han books that only books written by Emporer of keen intelligence and excellent judgment, or by Emporer who lost his country because of disobedience. All of them need to be related to affairs of state.[1]9 ([1](Qing)Eertai.Records of Qing Dynasty·Records of the Emperor Taizong[Z].Beijing：Zhonghua Publishing House，1985.）After Taizong，Shunzhi Emporer, who was given the position when was a child, intended to read history books and accepted grand secretary Xifu's advice to follow the example of Taizong Emporer . He recommended the translations of ''Liao'', ''Jin'', ''Yuan'', for the purpose that these books can demonstrate political gains and losses, people's livelihood and the state's effort to combat confusion.&lt;br /&gt;
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Emperor Taizong of Qing Dynasty had his requirements to the translation of Han books. He required “reading history for use”. The books to be translated either belonged to those who were “diligent in seeking governance and then resulted in the fortune of a nation” or those who were “contrary to the way they put into practice and then governance fallen into depression ”. But in any case, they had to be related to affairs of state.[1]9 ([1] (Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Chongde Emperor [Z].Beijing: Chinese Publishing House, 1985.）After Chongde Emperor, Shunzhi Emporer, who inherited the throne when he was a child, intended to read history books as well, and accepted grand secretary Xifu's advice to follow the example of Chongde Emperor’s heart of appreciation of the past. He recommended the translations of Liao, Jin, Yuan, for the purpose that these books can demonstrate political gains and losses, people's livelihood and the state's effort to combat confusion. [2]15-16--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:36, 13 October 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）尤其是《资治通鉴》一书，顺治帝对其更是情有独钟，认为它有“考百代之是非”的成效。[2]1清初三帝之后，满汉交流日渐频繁，民族融合逐步加强，满洲文化长足发展，嗣后诸帝的汉文化态度随之变化。&lt;br /&gt;
([2](Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Shunzhi Emperor [Z].Beijing: Chinese Publishing House, 1985.) Particularly Comprehensive Mirror for Aid in Government, this book, Shunzhi Emperor showed special preference to it. He thought it has the effect of “examining the rights and wrongs of hundreds generations. &lt;br /&gt;
[2]1 After the three emperors of the early Qing Dynasty, the exchanges between Manchu and Han became increasingly frequent, the national fusion was gradually strengthened, and the culture of Manchu developed rapidly. Henceforth the attitude of emperors changed accordingly. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 08:49, 12 October 2021 (UTC)&lt;br /&gt;
([2](Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Shunzhi Emperor [Z].Beijing: Chinese Publishing House, 1985.) Particularly Comprehensive Mirror for Aid in Government, this book, Shunzhi Emperor showed special preference to it. He thought it has the effect of “examining the rights and wrongs of hundreds dynasties. [2]1 After three emperors of the Early Qing Dynasty, the exchanges between Manchu and Han became increasingly frequent, the national fusion was gradually strengthened, and the culture of Manchu developed by leaps and bounds. Henceforth the attitude of emperors changed accordingly.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 10:47, 13 October 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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但无论是何种变化，汉书翻译的事业却从未间断，通过翻译汉籍求明道致用的功心也从未革损。如康熙帝“性眈问学”，于听政之暇常取《六经》和《资治通鉴》等书译本，发而读之，以探求圣人之心、治道之切。雍正帝也通过阅读汉籍，论及传统正统论，尤其是其中的“承统之正”与“得国之正”的观点，以此为满洲政权建构统治的理论基础。乾隆帝即位之后，凭借其对于汉籍的熟读与精研，继续推行尊孔崇儒的政策，宣传汉族文化，通过道德学术实现传国久远的理想抱负。&lt;br /&gt;
However, no matter what kind of change, the cause of books’ translation of Han Dynasty has never been interrupted. The merit of “Ming Dao Zhi Yong”, that is, to be reasonable to hit the key points and apply to reality, has never been damaged through the translation of Han Dynasty books. Such as Kangxi’s (emperor of Qing Dynasty) &amp;quot;concerns of study&amp;quot;. In his leisure time after handling issues of politics, he often takes the &amp;quot;Six Classics&amp;quot; and &amp;quot;Comprehensive Mirror for Aid in Government&amp;quot; and other translations, opens and then reads them, in order to explore the ideas of saints and the urgency of the policy of governing the country. By reading the books of Han Dynasty and discussing the traditional orthodoxy, especially the view of &amp;quot;the rightness of the succession&amp;quot; and &amp;quot;the rightness of the country&amp;quot;, which is regarded as the theoretical basis for the construction and rule of the Manchuria regime. After Emperor Qianlong inherited the throne, he continued to carry out the policy of respecting the Confucianism, publicize the Han culture, and realize the long-standing ideal ambition of the country through moral scholarship.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 01:50, 13 October 2021 (UTC)&lt;br /&gt;
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However, no matter what kind of change, the cause of books’ translation of Han Dynasty has never been interrupted. The utilitarian pursuing for “Ming Dao Zhi Yong”, that is, to be reasonable to hit the key points and apply to reality, has never been damaged through the translation of Han Dynasty books. Taking Kangxi’s (the forth emperor of Qing Dynasty) &amp;quot;concerns of study&amp;quot; for example, in his leisure time after handling issues of politics, he often took the &amp;quot;Six Classics&amp;quot; and &amp;quot;Comprehensive Mirror for Aid in Government&amp;quot; and other translations, opened and then read them, in order to explore the ideas of saints and the urgency of the policy of governing the country. By reading the books of Han Dynasty and discussing the traditional orthodoxy theory, especially the view of &amp;quot;the rightness of the succession&amp;quot; and &amp;quot;the rightness of the country&amp;quot;, which is regarded as the theoretical basis for constructing the  rule of Manchuria regime. After Emperor Qianlong inherited the throne, by virtue of his delicate reading and deep research in Han Books, he continued to carry out the policy of respecting the Confucianism, publicized the Han culture, and realized the long-standing ambition since the first emperor of Qing dynasty through moral scholarship.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 10:41, 13 October 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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可以认为，清代的汉书翻译既是一种笼络的手段，也是一种治术的形式，其根本目的乃是建构、巩固并维护满洲政权的正当性。一、清初汉书翻译述要 鉴于文献所限，清初翻译汉书的准确数字，难以查考。特别是太祖、太宗两朝时期，汉书翻译的具体情况尤难统计。&lt;br /&gt;
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It can be considered that the translation of Han books is one means of unifying as well as the form of governing, whose fundamental purpose is to construct, consolidate and maintain the legitimacy of Manchurian regime. 一. Han books translation in the early Qing dynasty was confined to the literature and it is hard to examine the accurate figures of it. In particular, during the two dynasties of Taizu and Taizong, the specific conditions of Han books translation is critically difficult to reckon.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 05:34, 12 October 2021 (UTC)&lt;br /&gt;
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It can be considered that the translation of Chinese books is a means of unifying as well as a form of governing, whose fundamental purpose is to construct, consolidate and maintain the legitimacy of Manchurian regime. Firstly, The Overview of Translation of Chinese Books in the Early Qing Dynasty.  In the limit of literature, it is hard to examine the accurate figure. In particular, during the two dynasties of Taizu and Taizong, the specific conditions of  the translation are critically difficult to reckon.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:11, 13 October 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnà 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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但从《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》和《清代内府刻书目录解题》等文献记载情况看，顺、康、雍、乾四朝官方刊刻的汉书满文译本共计五十三种。其中，除去既有满文本，又有满汉合璧本的《三国志（通俗演义）》和《大学衍义》，以及刊刻次数在两次及以上的满文本《诗经》、满汉合璧本《孝经（御制翻译孝经）》，以及满汉合璧本《潘氏（通鉴）总论》等，汉籍满文译书实为四十七种。以朝代统计，则分别是： 顺治朝九种：《辽史》、《金史》、《元史》、《洪武要训》、《三国志（通俗演义）》、《诗经》、《表忠录》、《孝经》（阿什坦译）和《六韬三略》；&lt;br /&gt;
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However, from the record of literature such as ''The General Catalogue of Rare and Ancient Books in The National Palace Museum'', ''The World Bibliography of Manchu Literature'', ''The National Union Catalogue of Books and Reference Materials of  Manchu'' and ''The Bibliography for the Interpretation of Titles of the Engraving Books of the Imperial Storehouse in Qing Dynasty'', translation of Chinese books by Manchu that officially engraved by the four dynasties of Emperor Shunzhi, Emperor Kangxi, Emperor Yongzheng and Emperor Qianlong add up to fifty-three. Among these books, besides Manchu or the Chinese-Manchu bilingual ''The Romance of the Three Kingdoms'' and  ''Interpretation of The Great Learning'', the Manchu script ''The Book of Songs'' that was printed more than twice, the  bilingual ''The Book of Filial Piety''(made by the emperor order) , the bilingual ''The General Instruction From Pan Rong'' and so on, translation of Chinese books by Manchu actually add up to forty-seven.According to statistics of dynasties, they include nine books in the reign of Shunzhi: ''History of the Liao Dynasty'', ''History of the Jin Dynasty'' , ''History of the Yuan Dynasty'', ''The Sermon of the Hongwu Period'', ''The Romance of the Three Kingdoms'', ''The Book of Songs'',''Book for Loyalty'', ''The Book of Filial Piety''(translated by Asitan) and ''Books on the Art of War''.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 19:23, 12 October 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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康熙朝十二种：《纲鉴汇纂》、《大学衍义》、《日讲四书解义》、《日讲书经解义》、《日讲易经解义》、《御选古文渊鉴》、《资治通鉴纲目》、《黄石公素书》、《醒世要言》、《潘氏（通鉴）总论》、《菜根谭》和《薛文清先生要语》； 雍正朝五种：《孝经集注》、《小学合解》、《小学》及《四体翻译心经》；④ 乾隆朝二十二种：《日讲春秋解义》、《御制翻译四书》（鄂尔泰等奉敕译，满文本，乾隆六年）、《御制翻译四书》（乾隆皇帝敕译，满汉合璧本，乾隆二十年）、《御制翻译书经集传》、《御制翻译周易》、《御制翻译诗经》、《御制翻译名义集》、《御制大悲心忏法仪轨经》、《大藏经全咒》、《御制楞严经》、《御制翻译礼记》、《御制翻译春秋》、《心经》、《大藏经》、《御制翻译孝经》、《翻译潘氏（通鉴）总论》、《般若波罗蜜多心经》、《御译大云轮请雨经》、《吉祥偈》、《佛说四十二章经》、《金刚般若波罗密多经》及《沐浴经》。&lt;br /&gt;
There are 12 Manchu versions of the Chinese classics during the Emperor Kangxi in Qing Dynasty. They are Gangjian Compilation, a historical book of general history; Ta-hsueh yen-I, Interpretation of Four Books of the Day, Interpretation of Books of History, Interpretation of the Books of Changes, Authorized Selection of Ancient Literature, Comprehensive Mirror for Aid in Government, Master Huang’s Plain Book, Awaking to People, Pan General, Caigen Tan and Quotation from Master Xue Wenqing. There are five versions during the Emperor Yongzheng. They are The Book of Filial piety, Xiaoxue Hejie, a kind of dictionary, Xiaoxue,and Heart Sutra of Four Bodies translation. There are 22 versions during the Emperor Qianlong, including A teaching record of Chunqiu (a confucian classics), Authorized Translations of Sishu(Eertai were demander to translate to Manchu version in the sixth years during Qianlong), Authorized Translation of Sishu(it was on the demand of Emperor Qianlong and a combination of Chinese and Manchu in the twelfth year, Authorized Translation Translation of Shujing, Authorized Translation of Zhouyi, Authorized Translatio of Book of Songs, Authorized Translation of Mingyiji, The Whole curse of Finance, a Buddhist book, Authorized Lengyan Scriptures, Authorized Translation of Chunqiu, Heart Sutra, Tripitake, Authorized Translation of the book of Filial Piety, Pan’s General Theory of Translation, Prajna Paramita Sutra, Authorized Translation of Dayun Wheel Asking for Rain Sutra, Auspicious Verse, Buddhist Forty-two Chapters, Vajra Prajna Paramita Sutra and Bath Meridian&lt;br /&gt;
There are 12 Manchu versions of the Chinese classics during the period of Emperor Kangxi in Qing Dynasty. They are ''Gangjian Compilation, a historical book of general history; Ta-hsüeh yen-I, Interpretation of ‘the Four Books’,  Interpretation of ‘the Book of History’, Interpretation of ‘Book of Changes’, Authorized Selection of Ancient Literature, Comprehensive Mirror for Aid in Government, Master Huang’s Plain Book, Awaking to People, Pan General, Caigen Tan and Quotation from Master Xue Wenqing''. There are five versions during the period of Emperor Yongzheng. They are ''The Book of ‘The Classic of Filial Piety’ variorum , Xiaoxue Hejie, a kind of dictionary, Xiaoxue,and Heart Sutra of Four Bodies translation.'' ④There are 22 versions during the period of Emperor Qianlong, including ''Interpretation of ‘The Spring and Autumn Annals’ (a confucian classics), Authorized Translations of ‘the Four Books’ (Eertai were demander to translate to Manchu version in the sixth years during Qianlong), Authorized Translation of ‘the Four Books’(it was on the demand of Emperor Qianlong and a combination of Chinese and Manchu in the twelfth year, Authorized Translation Translation of ‘the Book of History’, Authorized Translation of ‘the Book of Changes’, Authorized Translation of ‘Book of Songs’, Authorized Translation of formula names, The Whole curse of Finance, a Buddhist book, Authorized Lengyan Scriptures, Authorized Translation of ‘The Spring and Autumn Annals’, Heart Sutra, Tripitake, Authorized Translation of ‘the Classic of Filial Piety’, Pan’s General Theory of Translation, Prajna Paramita Sutra, Authorized Translation of Dayun Wheel Asking for Rain Sutra, Auspicious Verse, Buddhist Forty-two Chapters, Vajra Prajna Paramita Sutra and Bath Meridian.''--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 23:17, 15 October 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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上述译本中，虽然《三国志（通俗演义）》和《大学衍义》分别于顺治七年、康熙十一年刊印两次，但各自的底本相同，区别只在于一次为满文本，另一次则为满汉合璧本。此外，《孝经》曾于顺治、康熙、雍正朝各刊刻一次，但底本各不相同，其中顺治年间的刊行本为阿什坦译本、康熙年间的刊行本为和素译校本，雍正时期的版本则译者未明，只是注明“雍正皇帝敕译”。值得注意的是，虽然世祖顺治帝笃信佛教，论佛谈法，但从现有文献看，未见有顺治朝翻译的汉文经书，反倒是禁教严厉的高宗时期，翻译汉文经书多达九部，其中缘由，值得深思。&lt;br /&gt;
In above-mentioned translations, although ''The Romance of the Three Kingdoms'' and ''Interpretation of The Great Learning'' were published twice in the seventh year of Shunzhi and the eleventh year of Kangxi respectively, their original versions were the same. The only difference was that one was completely in Manchu and the other was a combination of Chinese and Manchu. In addition, ''The Classic of Filial piety'' was once published in the period of Shunzhi, Kangxi and Yongzheng respectively, but the original versions were  varied. And the published version in Shunzhi period was translated by Ashton, the version in Kangxi period was translated and revised by Hesu, and the version in Yongzheng period whose translator was unknown was marked with ‘imperial translation of Yongzheng emperor’. It is worth nothing that although the emperor Shunzhi believed in and advocated Buddhism ,there were no scriptures translated into Chinese in the Shunzhi period according to the existing literature. On the contrary, in the Gaozong period when religions were strictly forbidden, there were as many as nine scriptures translated into Chinese. And the reasons of this are worth considering. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 15:25, 11 October 2021 (UTC)&lt;br /&gt;
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In the above-mentioned translations, although ''Records of the Three Kingdoms'' and ''Daxue yanyi'' were published twice in the seventh year of Shunzhi and in the eleventh year of Kangxi respectively, their original versions were the same. The only difference was that one was completely in Manchu and the other was a combination of Chinese and Manchu. In addition, ''The Classic of Filial Piety'' was once published in the period of Shunzhi, Kangxi and Yongzheng respectively, but the original versions were varied. And the published version in Shunzhi period was translated by Ashton, the version in Kangxi period was translated and revised by Hesu, and the version in Yongzheng period whose translator was unknown was marked with ‘imperial translation of Yongzheng emperor’. It is worth noting that although the emperor Shunzhi believed in and advocated Buddhism, there were no scriptures translated into Chinese in the Shunzhi period according to the existing literature. On the contrary, in the Gaozong period when Buddhism was strictly forbidden, there were as many as nine scriptures translated into Chinese. And the reasons for this are worth pondering.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:07, 12 October 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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尤其值得关注的是《诗经》与《孝经》的满文译本。以《诗经》为例，该书翻译成书后，顺治帝曾为其亲制序文，赞誉该部作品意旨深厚，能使人明性意，崇礼义，“其言之深者，可用于庙堂；言之浅者，可用于身家。以之事君，必忠；以之事父，必孝。更可以敦厚人伦，端正教化。”[3]72-73（[3]叶高树.清朝前期的文化政策[M].台北：稻乡出版社，2002.）&lt;br /&gt;
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The Chinese-Manchu translations of ''The Book of Songs'' and T''he Classic of Filial Piety'' call for special attention. Take ''The Book of Songs'' as an example. When the book had been translated, Shunzhi Emperor personally wrote a preface to it, in which he praised the work for its deep meaning that enabled people to understand human nature and respect etiquettes, quote, “Some of its profound words can be used at the imperial court; some of its shallow words can be used for oneself and one’s family. Under the guidance of it, one will be faithful to the emperor and filial to his or her father. What’s more, it can improve human relations and correct moral cultivation.” [3]72-73（[3]Ye Gaoshu. Cultural policies in early Qing dynasty [M].Taipei：Dao Xiang press，2002.）--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 13:57, 12 October 2021 (UTC)&lt;br /&gt;
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The Chinese-Manchu translation of ''The Book of Songs'' and T''he Classic of Filial Piety'' calls for special attention. Take ''The Book of Songs'' as an example. When the book had been translated, Shunzhi Emperor personally wrote a preface to it, in which he praised the work for its deep meaning that enabled people to understand human nature and respect etiquettes, quote, “Some of its profound words can be used at the imperial court; some of its shallow words can be used for oneself and one’s family. Under the guidance of it, one will be faithful to the emperor and filial to his or her father. What’s more, it can improve honest and sincere, human relations of people and correct moral cultivation.”--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:35, 13 October 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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从教化的角度思考《诗经》的翻译，既是顺治帝本人的自觉认识，也是以他为首的统治者在面对稗（bài）官小说盛行，而满洲人竞相翻译时所做的一种被动调整。正如顺治九年进士、刑科给事中阿什坦担心的那样：学者立志，宜以圣贤为期，读书务以经史为中。&lt;br /&gt;
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Thinking about the translation of The Book of Songs from the perspective of enlightenment is not only Shunzhi Emperor's self-conscious awareness, but also a passive adjustment made by the rulers headed by Shunzhi when they were faced with the popularity of tares officer novels and the manchurian people competing in translation. Just as Ashtan-Jinshi in the Shunzhi period of nine years in the Criminal Section for things was worried: scholars resolve, should take sages as their example of study, and take classics and history as main aspect.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 01:53, 13 October 2021 (UTC)&lt;br /&gt;
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In terms of educational function of translating ''The Book of Songs'', it is on one hand  Emperor Shunzhi’s spontaneous awareness and on the other a passive adjustment by Shunzhi and his counterparts to the situation where Manchuria translators competed to translate the prevailing novels of unofficial histories. As Ashton, a scholar in the ninth year of Shunzhi’s reign and official in the department of justice, stated that scholars should resolve to make sages as their goal and focus on reading history and classics.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:50, 13 October 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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此外杂书无益之言，必概废之而不睹。则庶乎学业日隆，而邪慝（tè）之心无由而入。近见满洲译书内，多有小说秽言，非惟无益，恐流行渐染，则人心易致于邪慝 。&lt;br /&gt;
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, while the other kinds of books which are of no benefit should be discarded. In this way, scholars might achieve positive results in academy and get rid of evil thoughts. I have noticed much falsifying and obscenity among the books translated into Manchu language. I am afraid that those books of no good can be prevailing and contagious, eroding people’s thinking.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:12, 12 October 2021 (UTC)&lt;br /&gt;
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Besides, other kinds of books with profitless words all should be discarded. Hence scholars can almost do increasingly better in their scholastic attainment, and evil thoughts disappear. Recently, I have noticed that among translated books in Manchu, there are many novels with bestial words, not only useless, but also easily imputing negative thoughts if they prevail.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 00:44, 13 October 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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况圣贤古训，日详究之，犹恐不及，何暇费日时于无用之地？[4]5339（[4](清)鄂尔泰等修，李洵等点校.八旗通志·初集[Z].长春：东北师范大学出版社，1989.）阿什坦认为，读书必以经史为要，摒弃杂书，尤其是污言秽语之书。&lt;br /&gt;
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Moreover, the old maxims of sages are studied in detail everyday, but people still fear that they can’t approach that height. Why should we employ our time in useless places? ([4](Qing Dynasty) Modification of Eertai et al. Punctuation and Collation of Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.) Ashitan thinks we should choose classics and history to read rather other books, especially those with bestial words.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:09, 12 October 2021 (UTC)&lt;br /&gt;
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As for the maxims from ancient sages, people studied them everyday in detail  but still worried they couldn’t comprehend, so why should they do worthless work? ([4](Qing Dynasty) Modification of Eertai et al. Punctuation and Collation of Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.)  Ashitan thought people would read classical books and get rid of informal books especially those with bestial words.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 12:17, 12 October 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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因此，他奏请皇上对旗人读书严加限制，要求嗣后翻译书籍只应针对“关圣贤义理，古今治乱之书”，对于“此外杂书秽言”，则“概为禁饬，不许翻译”。[4]5339（[4](清)鄂尔泰等修，李洵等点校.八旗通志·初集[Z].长春：东北师范大学出版社，1989.）正是缘于这样的认识，《大学》、《中庸》、《孝经》、《潘氏（通鉴）总论》和《太公家教》等被陆续译成。&lt;br /&gt;
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Therefore, he presented a proposal to the dominator that a restriction on Qi people’s education should be made. He also claimed that people could only translate those books about men’s virtue and dominator’s pacification, while those informal books with bestial words should be banned. [4] (Qing dynasty) Modified by Eertai et al. Proofread by Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.)  Due to that kind of comprehension, the Great Learning, the Middle Way, the Classic of Filial Piety, Pan’s General View and the Family Motto of Taigong were successively translated.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:00, 12 October 2021 (UTC)&lt;br /&gt;
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Therefore, he presented a proposal to the emperor that a strict restriction on Qi people’s education should be made which allowed people to translate books about men’s virtue and dominator’s pacification and prohibited translations of informal books with foul language. [4] (Qing dynasty) Modified by Eertai et al. Proofread by Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.)  Due to that kind of awareness, the Great Learning, the Doctrine of the Mean, the Classic of Filial Piety, Pan’s General View and the Family Motto of Taigong were successively translated.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 11:44, 12 October 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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顺治帝对于《孝经》的翻译亦甚重视，曾亲自撰写《御注孝经》，令儒臣博采群书，加以论断，编纂《孝经衍义》。顺治帝指出，自古治平天下，莫大于孝，而《孝经》立意正大，“孝”更是“五常百行之原”，如不能取古人言行，将其推广，则不足以彰显其义，同时也与其本人“以孝治天下”的愿景相悖。[2]1-2;[5]140-141（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）&lt;br /&gt;
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Emperor Shunzhi also attached great importance to the translation of The Classic of Filial Piety for which he once wrote the notes himself. Moreover, he ordered the Confucian officials to evaluated this book and compiled The Extended Explanation of The Classic of Filial Piety according to a variety of books. Emperor Shunzhi pointed out that nothing was more important than filial piety to govern the country. And he believed that The Classic of Filial Piety embodied this quality well. As the origin of the five essential moral qualities(kindness, righteousness, propriety, wisdom and trust) and good deeds, filial piety should be promoted otherwise its meaning can't be manifested completely. Meanwhile it would be contrary to the Emperor's vision to govern the country with filial piety. [2]1-2;[5]140-141([2](Qing Dynasty)Eertai et al.Records of Qing Dynasty •Records of the Emperor Shizhi[Z].Beijing: Zhonghua Publishing House, 1985.)--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:06, 11 October 2021 (UTC)&lt;br /&gt;
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Emperor Shunzhi also attached great importance to the translation of ''The Classic of Filial Piety'' for which he once wrote the notes himself. Moreover, he ordered the  officials who are faithfully converted to Confucianism to evaluated this book and compiled ''The Extended Explanation'' of ''The Classic of Filial Piety'' according to a variety of books. Emperor Shunzhi pointed out that nothing was more important than filial piety to govern the country. And he believed that ''The Classic of Filial Piety'' embodied this quality well. As the origin of the five essential moral qualities(kindness, righteousness, propriety, wisdom and trust) and good deeds, filial piety should be promoted otherwise its meaning can't be manifested completely. Meanwhile it would be contrary to the Emperor's vision to govern the country with filial piety. [2]1-2;[5]140-141([2](Qing Dynasty)Eertai et al.''Records of Qing Dynasty •Records of the Emperor Shizhi''[Z].Beijing: Zhonghua Publishing House, 1985.)--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:26, 20 October 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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（[5]宋德宣.满族哲学思想研究[M].沈阳：辽宁大学出版社，1994.）顺治年间翻译的其它汉文典籍，如《洪武宝训》、《表忠录》、《诗经》与《孝经》等，也各具代表性。以《洪武宝训》为例，该书系明朝皇权政治的象征，反映了明太祖朱元璋治国理政的理念和方针。顺治三年三月，《洪武宝训》完成满文翻译，成为清朝入关后的首部汉籍译作，顺治帝对此极为重视，不仅赏赐了刚林、宁完我、范文程等译者，而且由摄政王钦命汉官代笔，以世祖名义制作序文，颁行全国。&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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世祖认为，历代贤君莫如洪武，希望通过翻译此书，学习中原汉族王朝正统，巩固满清统治，所谓“彝宪格言，深裨治理”，即是此书翻译目的之体现。[2]1（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）二、康熙朝的汉书翻译。康熙朝的汉籍翻译可分为两部分：一部分为整理、刊行前朝译本；另一部分则着手翻译其它各类汉文书籍As far as Emperor Shitzu of Qing Dynasty concerned, Each emperor in Chinese history is not so sagacious as Taitzu(Emperor ''Hongwu'') of Great Ming Empire, so, he hopes that by translating ''Hongwu Baojian'', the orthodox tradition and customs of all dynasties created by the Han ethnic groups in the Middle part of China can be studied and acquired, the goal, which is to consolidate of the newly born dynasty, can be achieved. The purpose of translating ''Hongwu Baojian'' is that Emperor Shunzhi thinks that it can &amp;quot;refresh the country and make great contributions to his ruling.&amp;quot;&lt;br /&gt;
[2]1([2](Qing) E Ertai et al., ''the Imperial Archives of Emperor Shitzu(1638-1661, posthumously titled Zhang Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1985.)&lt;br /&gt;
II. The Translation of Books  Created by Han Ethnic Group in the Period of Kangxi(1661-1722) The translation of Books  created by Han ethnic group in the Period of Kangxi(1661-1722) can be divided into two parts: the first is neaten, print and publish the former translated version; the second is setting about translating other books written by Han Character.&lt;br /&gt;
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:14, 13 October 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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As far as Emperor Shizu of Qing Dynasty concerned, there is no sagacious emperor in Chinese history than Taitzu(Emperor Hongwu) of Great Ming Dynasty, so he hopes that by translating Hongwu Baojian, the orthodox tradition and customs of all dynasties created by the Han ethnic in the Central Plains of China can be studied and acquired, the goal, which is to consolidate the newly born dynasty, can be achieved. The purpose of translating Hongwu Baojian is that Emperor Shizu thinks that it can &amp;quot;refresh the country and make great contributions to his ruling.&amp;quot; [2]1([2](Qing) E Ertai et al., the Imperial Archives of Emperor Shizu(1638-1661, posthumously titled Zhang Huang Di) of the Qing Dynasty, Peking, Zhonghua Book Company, 1985.)&lt;br /&gt;
II. The Translation of Books Created in Kangxi Dynasty.(1661-1722) The translation of Books created in Kangxi Dynasty(1661-1722) can be divided into two parts: the first is to neaten, print and publish the former translated version; the second consist in translating other books written by Han Character. --[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:25, 13 October 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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其中，前者如《纲鉴汇纂》（康熙三年）、《黄石公素书》（康熙四十三年）和《潘氏（通鉴）总论》（康熙四十六年）等，后者则如《大学衍义》等，数目更多。康熙十一年，翰林院掌院学士兼礼部侍郎傅达礼翻译《大学衍义》成书，次年进呈皇帝，获太皇太后和圣祖嘉奖。孝庄太皇太后在亲览傅礼达《大学衍义》译本后，大赞此书“法戒毕陈，诚为且要”，并对康熙帝钦命儒臣翻译、刊刻、颁赐此书给诸臣，予以充分肯定。[6]82&lt;br /&gt;
Among them, the former, such as ''Gang Jian Hui Zuan''(a book of historical records in the third year of emperor Kang Xi), ''Su Shu of Huang Shigong''(a book about Taoisme in the 43th year of emperor Kang Xi) and ''the General treatise of the Pan family''(Tong Jian:a history book)(in 46th year of emperor Kang Xi),etc…the latter, such as ''Da Xue Yan Yi''(the Deduction meaning of great learning),are more numerous. In the 11th year of emperor Kang Xi,Bo Dali, the master bachelor of national academy and assistant minister，translated ''Da Xue Yan Yi'' which was submitted to the emperor the next year，with the great prize by grandma-empress and ancestor.After personally reading Bo Dali's version of ''Da Xue Yan Yi'', grandma-empress Xiao Zhuang lavished praise that laws by chen is so genuine on it, satisfying with the translations, prints and awards which were given to ministers by emperor Kang Xi.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:24, 12 October 2021 (UTC)&lt;br /&gt;
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Among them, the former, such as ''Gang Jian Hui Zuan''(a book of historical records in the third year of the Emperor Kang Xi), ''Su Shu of Huang Shigong''(a book about Taoism in the 43th year of the Emperor Kang Xi) and ''the General treatise of the Pan family''(Tong Jian:a history book)(in 46th year of the Emperor Kang Xi),etc…the latter, such as ''Da Xue Yan Yi''(the Deduction meaning of great learning),are more numerous. In the 11th year of the Emperor Kang Xi,Bo Dali, the master bachelor of national academy and assistant minister，translated ''Da Xue Yan Yi'' which was submitted to the emperor the next year，with the great prize by grandma-empress and ancestor.After personally reading Bo Dali's version of ''Da Xue Yan Yi'', grandma-empress Xiao Zhuang lavished praise that laws by chen is so genuine on it, satisfying with the translations, prints and awards which were given to ministers by emperor Kang Xi.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:09, 13 October 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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（[6]中国第一历史档案馆.康熙起居注[Z].北京：中华书局，1984.）《大学衍义》译毕后，康熙帝又在康熙十六年、十九年、二十二年，分别命人将《四书》、《五经》等的经筵讲义加以刊印，先后集成《日讲四书解义》、《日讲书经讲义》和《日讲易经讲义》。这些讲义虽不是直接译自清代以前的汉文典籍，然而作为阐释经典的作品，也经历了由汉文翻译成满文的过程，且书中又将原典逐字逐句译出，故仍然属于汉籍翻译的范畴，对高宗年间的儒家经典重译也产生了重要、深刻的影响。&lt;br /&gt;
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([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company, 1984.)After the translation of ''Spreading Meaning of The Great Learning'' was finished, the Emperor Kangxi gave an order to publish the doctrine of ''The Four books'' and ''The Five Classics'' respectively in 16th, 19th, and 22th year of Kanxi, which were successively integrated into ''Lecture on the Four Books'', ''Lecture on the Book of History'', ''Lecture on the Book of Changes''.These doctrines are not directly transalted from those Chinese classics since the dynasty of Qing, however as the works of interpreting classics, also going through the process of the translating from Chinese to Manchu language.Moreover, the sentences of original classics were translated literally, so the translation also belongs to Chinese classics translation, which exerted important and profound influence on the re-translation of Confucian Classics in the period of emperor Tang Gaozong.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 02:53, 13 October 2021 (UTC)&lt;br /&gt;
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([6] The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company, 1984.) After the translation of Spreading Meaning of The Great Learning was finished, the Emperor Kangxi gave an order to publish the doctrine of ''The Four books'' and ''The Five Classics'' respectively in 16th, 19th, and 22th year in the period of Emperor Kangxi, which were successively integrated into ''Lecture on the Four Books'', ''Lecture on the Book of History'', ''Lecture on the Book of Changes''. Although, these doctrines are not directly translated from those Chinese classics since the dynasty of Qing, as the works of interpreting classics, it also went through the process of the translating from Chinese to Manchu language. Moreover, the sentences of original classics were translated literally, so the translation also belongs to Chinese classics translation, which exerted important and profound influence on the re-translation of Confucian Classics in the period of emperor Tang Gaozong--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:41, 13 October 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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与此同时，康熙帝即位后，也缵述世祖遗绪，命儒臣编纂《孝经衍义》，只是由于该书达一百卷之多，篇帙繁复，读者未必领会周全，因而康熙帝钦命专译其经文，以利读者习诵。康熙帝对汉书翻译的重视也体现在《通鉴纲目》的翻译上。据《康熙起居注》中载，康熙帝耽于《资治通鉴》，自二十四年起便对《资治通鉴》、《资治通鉴纲目》（又名《通鉴纲目》）、《纲目大全》三书“以硃笔亲加点定”，不但将书中错误悉数改正，而且对缺失者也加以增补。[6]1339-1340&lt;br /&gt;
At the same time, after Emperor Kangxi ascended the throne, he also inherited and reported the meritorious deeds of Emperor Qing Shi Zu and ordered Scholar-Officials to compile the ''Classic of Filial Piety''. However, the readers may not understand it well because there are as many as 100 heavy and complicated volumes. Therefore, Emperor Kangxi ordered experts to translate the scriptures for the benefit of the readers. Emperor Kangxi's attention to the translation of Chinese books is also reflected in the translation of the ''Compendium of History as a Mirror''. According to the ''Records of Emperor Kangxi’s Daily Activities'', Emperor Kangxi devoted himself to ''History as a Mirror''. Since the 24th year in the period of Emperor Kangxi, Emperor Kangxi “had used the Chinese brush with cinnabar ink to revise” the three books, the ''History as a Mirror'', the ''Compendium of History as a Mirror'', and the ''Compendium'', not only corrected all the errors in the book, but also supplemented the missing ones. [6]1339-1340--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 15:06, 12 October 2021 (UTC)&lt;br /&gt;
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At the same time, after Emperor Kangxi accepted the imperial succession, he also inherited and edited the meritorious works of Shizu, Qing Emperor and commanded the Scholar-Officials to compile ''The Meaning Supplement of Filial Piety''. However, the readers may not understand it so well because this book consisted of more than 100 volumes, with complicated sections and chapters. Therefore, Emperor Kangxi ordered experts to translate the classical works for the benefit of the readers. Emperor Kangxi attached importance of Han classics to the translation of ''Compendium of History as a Mirror''. According to ''Record on Emperor Kangxi's Daily Life'', he was so fond of ''History as a Mirror''. Since the 24th year after reign, Emperor Kangxi has used the Chinese brush with cinnabar ink to revise ''History as a Mirror'', ''Compendium of History as a Mirror'', and ''Compendium'', not only correct all the mistakes in the book, but also supplement the missing ones. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 03:03, 13 October 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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（[6]中国第一历史档案馆.康熙起居注[Z].北京：中华书局，1984.）而康熙帝对于《通鉴纲目》的关注尤甚，达到了“循环披览，手未释卷”的程度。[7]2-3（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）&lt;br /&gt;
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([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company,1984) And Emperor Kangxi was so concerned about ''The Compendium of History as a Mirror'' that he read it over and over again, unwilling to put it aside. [7]2-3 ([7]Qing Dynasty)Aisin Gioro Xuanye, ''Collected Works of Emperor Kangxi''[M].Taipei: Taiwan Student Book Company, 1966.）--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 06:22, 12 October 2021 (UTC)&lt;br /&gt;
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([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company,1984) And Emperor Kangxi was so fond of ''The Compendium of History as a Mirror'' that he read it over and over again, unwilling to put it aside. [7]2-3 ([7]Qing Dynasty)Aisin Gioro Xuanye, ''Collected Works of Emperor Kangxi''[M].Taipei: Taiwan Student Book Company, 1966.）--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:22, 13 October 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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故此，康熙三十年，圣祖命阿什坦之子，翻书房总裁和素将《通鉴纲目》译文满文，由武英殿内府刊刻，该译本现存于中国民族图书馆，共三十册（三函），虽然内容上并不完整，但仍然包含了《资治通鉴纲目》（朱熹）、《订正通鉴纲目前编》（南轩），以及《续资治通鉴》（商辂）等三部作品的基本内容。难得的是，该部汉籍的满文译本曾入选第四批《国家古籍珍贵名录》（编号：11326），可见其在翻译史、满语史乃至中国史上的重要地位。康熙年间，除翻译汉文经、史外，也编译汉书，如《御选古文渊鉴》的编译等，即属此类。&lt;br /&gt;
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Therefore, in the 30th year of Kangxi's reign period(1691), the emperor asked the son of A'shitan, the chief executive of translation department named HeSu to translate ''TongJian of Materia Medica'' into the language of the Manchus and ordered the Martial Valor to print it. The translated version, which consists of 30 vomumes, is now kept in the Library of Chinese Nationalities.Though not covering all contents, it does contain the basic contents of ''History as a Mirror''(by Zhu Xi), ''Revised Prequel of TongJian of Materia Medica'' (by Nan Xuan) and ''The Sequel of History as a Mirror''(by Shang Lu). What's worth noting is that, this translated script was once selected into the fourth batch of ''National Rare Catalogue of Ancient Books''(SE:11326). Thus, we can see that it plays an important role in the history of translation, the history of the Manchus language and even the history of Chinese history. During the period of Kangxi's reign, besides the translation of ancient Chinese classics and histories, the translation and edition of Chinese books also prevailed, such as ''Imperial Selection of Ancient Chinese Proses'' and the like.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:16, 13 October 2021 (UTC)&lt;br /&gt;
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Therefore, in the 30th year of Kangxi's reign period(1691), the emperor asked the son of A'shitan, the chief executive of translation department named HeSu to translate ''General Compendium'' into the language of the Manchus and ordered the Martial Valor to print it. The translated version, which consists of 30 volumes, is now kept in the Library of Chinese Nationalities.Though not covering all contents, it does contain the basic contents of ''Outline of Comprehensive Mirror for Aid in Government''(by Zhu Xi), ''Revised Prequel of Comprehensive Mirror for Aid in Government'' (by Nan Xuan) and ''The Sequel of Comprehensive Mirror for Aid in Government''(by Shang Lu). What's worth is that, this translated script was once selected into the fourth batch of ''List of National Rare Ancient Books''(SE:11326). Thus, we can see that it plays an important role in the history of translation, the history of the Manchus language and even the Chinese history. During the period of Kangxi's reign, besides the translation of ancient Chinese classics and histories, the translation and edition of Chinese books also prevailed, such as ''Imperial Selection of Ancient Chinese Proses'' and the like.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:50, 13 October 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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《御选古文渊鉴》由康熙九年进士徐乾学编注，全书共六十四卷选文，收录时间自春秋至宋末，偏重于先秦、两汉古文，以及唐宋八大家散文。关于《御选古文渊鉴》的缘起，《康熙帝御制文集》中有详细记载，概言之便是康熙帝常思“文以载道”，认为文章之事源远流长，所谓“今古错综，盛衰或通于千载，损益无关于一朝”，因而命儒臣选辑“辞义精纯，可以鼓吹《六经》者，汇为正集”，“间有瑰丽之篇，……则列之别集”，而“旁采诸子，录其要论，以为外集。”[7]17-18（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）&lt;br /&gt;
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''The Appreciation of Ancient Writings Selected by Emperor Kangxi'' was compiled and annotated by Xu Qianxue who succeeded in the highest imperial examinations in Kangxi’s ninth year in the throne. The book contains 64 volumes of articles from the Spring and Autumn period to the end of Song Dynasty, including especially those of Pre-Qin period and Han Dynasty as well as proses of eight great prose masters of the Tang and Song. In regard to its origin, it was recorded in detail in ''The Collected Works of Emperor Kangxi''. In short, the reason is that Kangxi thought that articles were made to explain the truth, which had such a long history that it underwent all the ebb and flow from ancient times to present and that we couldn’t attribute gains and losses to one dynasty. Kangxi therefore commanded officials to select those with excellent contents and forms which advocate ''Six Classics'' for the principle set, euphuistical articles for another set and records of litterateurs’ writings for the complementary set. [7]17-18([7] (Qing Dynasty)Xuanye, ''The Collected Works of Emperor Kangxi''[M]. Taipei: Taiwan Student Book Bureau, 1966.)--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 13 October 2021 (UTC)&lt;br /&gt;
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The Appreciation of Ancient Writings Selected by Emperor Kangxi was compiled and annotated by Xu Qianxue who succeeded in the highest imperial examinations in 1670. The book contains 64 volumes of articles from the Spring and Autumn period to the end of Song Dynasty, including especially those of Pre-Qin period and Han Dynasty as well as proses of the eight great prose masters in Tang and Song. In regard to its origin, it was recorded in detail in The Collected Works of Emperor Kangxi. In short, the reason is that Kangxi thought that articles were made to explain the truth, which had such a long history that it underwent all the ebb and flow from ancient times to present and that we couldn’t attribute gains and losses to one dynasty. Kangxi, therefore, commanded civil officials to select those with excellent contents and forms which advocate Six Classics for the principle set, euphuistical articles for another set and records of litterateurs’ writings for the complementary set. [7]17-18([7] (Qing Dynasty)Xuanye, The Collected Works of Emperor Kangxi[M]. Taipei: Taiwan Student Book Bureau, 1966.)--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:53, 13 October 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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按照康熙帝自己的设想，该书的编纂着眼于“文治”，使帝王之道“大化以成”，而圣贤之业“性功以备”，既强调“质文互用”，又强调“博约并施”。[7]18（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）康熙二十四年，该书先以汉文刊印，两年后又以满文翻译成书，由内府刊刻。&lt;br /&gt;
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According to the Emperor Kangxi in Qing dynasty, the book was compiled with a focus of governing the country through civil affairs. In this way, the whole ability of the emperor can be approved, while saints’ career should both be composed of nature and virtue. Not only did it emphasize the mutual application of polite behavior and inner goodness, but also it stressed both strict and loose control. [7]18 ([7] (Qing Dynasty). Xuanye. ''The Special Made Collected Works of the Emperor Kangxi'' [M]. Taibei: the student book office in Taiwan Province, China, 1966.) In 1695, the book firstly printed in Chinese. Two years later, it was translated into Manchu script and compiled.  &lt;br /&gt;
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According to the Emperor Kangxi in Qing dynasty, the book was compiled with a focus on governing the country by “civil affairs”. In this way, the comprehensive  ability of the emperor can be improved, while saints’ career should  be composed of nature and virtue. Not only did it emphasize the mutual application of polite behavior and inner goodness, but also it stressed both strict and loose control. [7]18 ([7] (Qing Dynasty). Xuanye. ''The Special Made Collected Works of the Emperor Kangxi'' [M]. Taibei: the student book office in Taiwan Province, China, 1966.) In 1695, the book firstly printed in Chinese. Two years later, it was translated into Manchu script and compiled.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 07:38, 12 --[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:42, 12 October 2021 (UTC)October 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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《御选古文渊鉴》的编译对于康熙朝的汉籍翻译影响甚大。以此书为界，康熙朝的汉籍翻译在前后两个阶段中，对于对象的选取有着明显不同的诉求。其中，前一阶段的翻译文本多与《四书》、《五经》及宋代以前的作品有关，仅有《纲鉴汇纂》（达海等译）一部涉及前明，而康熙中、后期之后，由明代儒士作品翻译的情况明显增多，如吕坤的《醒世要言》、洪应明的《菜根谭》，以及薛瑄的《薛文清先生要语》等。&lt;br /&gt;
The compilation of The Selection of Ancient Classics had a great influence on the translation of books in the Kangxi Dynasty. Taking  it as  a boundary, the translation in the Kangxi Dynasty had obviously different demands on the selection of objects in the two stages. For example, the translation before  the compilation  of The Selection of Ancient Classics was related to works before Song Dynasty,like The Four Books and the Five Classics .Only Gang Jian Hui Zuan ( translated by Daihai,etc) talked about the former Ming Dynasty. However, in the middle and late Kangxi Dynasty, works translated by talents of Ming Dynasty increased greatly, such as Xing Shi Yao Yán translated by Lv Kun,Cai Gen Tan translated by Hong Yingming and The Words of Xue Wenqing translated by Xue Xuan.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:38, 12 October 2021 (UTC)&lt;br /&gt;
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The compilation of the &amp;quot;Royal Selection of ancient texts&amp;quot; had a great influence on the Chinese translation of Kangxi Dynasty. With this book as the boundary, Kangxi Dynasty's Chinese translation in the two stages before and after, for the selection of objects have obviously different demands. Among them, the translation text of the previous stage is mostly related to the &amp;quot;Four Books&amp;quot;, &amp;quot;Five Book&amp;quot; and previous works of the Song Dynasty, only &amp;quot;GangQi&amp;quot; (Dahai et al.) a related to the pre-Ming, and Kangxi middle and later, by the Ming Dynasty Confucian works translated by the situation significantly increased, such as Lu Kun's &amp;quot;Wake up the World&amp;quot;, Hong Yingming's &amp;quot;CookIng Tan&amp;quot;, and Xue Wei's &amp;quot;Mr. Xue Wenqing&amp;quot;.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 09:45, 13 October 2021 (UTC)[[File:Example.jpg]]&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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虽然如此，但康熙一朝的翻译目的并无明显改变，仍以劝善除恶、裨益治道者为先。&lt;br /&gt;
三、雍正朝的汉书翻译。雍正年间，汉籍翻译与出版仍在发展，但种类与数量和康熙朝比稍嫌单调、稀少。之所以如此，与雍正年间的政治形势不无关联。雍正二年，朝廷颁布《朋党论》和《雍正上谕》，暴露出统治集团内部的激烈斗争。&lt;br /&gt;
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Nevertheless, the translation purpose of Kangxi Dynasty has not changed significantly, and it is still to persuade the good to get rid of evil and to benefit the people who govern. Third, the translation of Han books from the Zheng Dynasty. During the Yu Zheng years, Han translation and publishing are still developing, but the type and quantity and Kangxi Dynasty than slightly monotonous, rare. The reason for this is not unrelated to the political situation in the Yu Zheng dynasty. In the second year of Yongzheng, the imperial court issued The Treatise on Cliques and the Encyclical of Yongzheng, which revealed the fierce struggle within the ruling cliques.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 11:00, 12 October 2021 (UTC)&lt;br /&gt;
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Nevertheless, the translation purpose of Kangxi Dynasty has not changed significantly, and it is still to persuade the good to get rid of evil and to benefit the people who govern.&lt;br /&gt;
Third, the translation of ''Han History'' from the Yongzheng Dynasty. During the Yongzheng years, translation and publication of books in the Han Dynasty are still developing, but compared with Kangxi dynasty, the types and quantity of books in Han Dynasty were monotonous and rare.The reason for this is not unrelated to the political situation in the Yongzheng dynasty. In the second year of Yongzheng, the imperial court issued ''The Treatise on Cliques'' and ''the Encyclical of Yongzheng'', which revealed the fierce struggle within the ruling cliques.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 10:53, 13 October 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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同年，世宗又对圣祖“上谕十六条”进行演绎和注解，并与后者一道合成《圣谕广训》，由武英殿刊刻，颁行天下，以加强伦理道德教育。不久之后，朝廷遵圣谕又相继颁布《上谕八旗》和《上谕旗务议复》，表明雍正帝急欲加强皇权统治，削弱王公旗主权势。正是这样的政治环境，给汉籍的翻译施加了限制。&lt;br /&gt;
In the same year, King Sejong also interpreted and annotated the 16th Encyclical of Sage Patriarch, and together with the latter, compiled the Encyclical Instruction, which was printed in the Hall of Martial Valor and presented to the world to strengthen moral education. Soon after, the imperial court in compliance with the encyclical and issued the ''&amp;quot;Encyclical Eight Banners'' and ''Encyclical Banner Affairs Review'' , indicating that Emperor Yongzheng was anxious to strengthen the imperial rule, weaken the sovereign potential of the royal banner. It is this political environment that imposes restrictions on the translation of Chinese books.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 11:07, 12 October 2021 (UTC)&lt;br /&gt;
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In the same year, Shizong emperor also interpreted and annotated the ''Sixteen Encyclicals'' of  emperor Taizu. Then they compiled the ''Encyclical Instructions'' together, which was printed in the Hall of Wuying and presented to the country to strengthen moral education. Soon after, the imperial court in compliance with the command of emperor issued the ''Encyclical of Eight Banners'' and ''Encyclical Review on Banner Affairs'', indicating Emperor Yongzheng's anxiety to strengthen the imperial rule and weaken the power of the royal banners. It is this political environment that imposes restrictions on the translation of Chinese classics.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:20, 12 October 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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雍正朝汉书翻译的单调与稀少还有另外一个原因，那就是翻译人才的相对紧缺。众所周知，清初之际，政府对于翻译的重视不只是体现在语言学习和公文的处理上，也体现在官修书籍的翻译与编纂上。例如，自雍正五年开始修纂，乾隆三十七年成书的《八旗通志》，作为研究满洲贵族特权和司法特权，以及旗地旗产制度的重要文献，便被翻译成蒙语。&lt;br /&gt;
There was another reason for the monotony and scarcity of translation in Yongzheng dynasty, that is, the relative shortage of translation talents. As we all know, in the early Qing dynasty, the government attached great importance to translation not only in language learning and official documents processing, but also in the translation and compilation of official books. For example, the ''General Annals of Eight Banners'' compiled in the fifth year of Yongzheng's reign and completed in the 37th year of Qianlong's reign, was translated into Mongolian as an important document for the study of manchurian aristocratics and judicial privileges, as well as the system of banner land and banner property.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:59, 12 October 2021 (UTC)&lt;br /&gt;
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During Yongzheng Period, another causation for the monotony and scarcity of translation of Han classics is the relative shortage of translation talents. As is known to all, in the early Qing dynasty, the government attached great importance to translation not only in language learning and official documents processing, but also in the translation and compilation of official books. For instance, ''The General Annals of Eight Banners'' started to be compiled in the fifth year of Yongzheng's reign and completed in the 37th year of Qianlong's reign, and it was then translated into Mongolian as an important document for the study of manchurian aristocratics and judicial privileges as well as the system of banner land and banner property.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:40, 13 October 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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另一部记录蒙古、回部等部落如何归附清朝，并跟随努尔哈赤及其继承者建国立业的《蒙古回部王公表传》，也被译成满文。这些书籍的翻译先由理藩院或内阁实录馆奏呈皇帝，获准后再从理藩院各司中抽调“笔帖式”，或从其它内阁机构中征调翻译人员，按相关规定与程序加以完成。然而，尽管清朝建国以来，朝廷对于翻译人员的数量要求有所增加，但直到顺治和康熙年间，兼通满、蒙两种语言的八旗族人尚能满足朝廷需求，可雍正在位期间，情形随之变化，出现了译员不足的局面。雍正帝曾说：&lt;br /&gt;
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Another book, ''The Biography of Emperor of the Mongolian and Uighur Tribes '', was also translated into the Manchu script. This book recorded how Mongol, Uyghur and other tribes attached to the Qing Dynasty, and followed Nuerhachi as well as his successors to establish a state. The translation of these books was first presented to the emperor by Court of Colonial Affairs or Cabinet Record Hall. After approval, the “bithesi” transferred from each department of the Court of Colonial Affairs, or translators recruited from other cabinet institutions completed them in accordance with relevant regulations and procedures. However, although the imperial court’s demand for the number of translators had increased since the founding of the Qing Dynasty, people among the Eight Banners who had a good command of Manchu and Mongolian couldn’t meet the needs of the court until the Emperor Shunzhi and Emperor Kangxi Period. But, during the reign of Emperor Yongzheng, the situation changed and there was a shortage of translators. Emperor Yongzheng once said:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:06, 13 October 2021 (UTC)&lt;br /&gt;
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An another book,''The Biography of Emperor of the Mongolian and the Hui tribes'', which records how the Mongolian and Hui tribes submitted the Qing dynasty and followed Nurhachi and his successors to establish the state, was also translated into Manchu.The translation of these books was first presented to the emperor by the Court of Colonial Affairs or the Cabinet Record Hall. After approval, the “bithesi”(A name for an official of the Qing Dynasty. It refers to people who were engaged in translating Manchu and Han memorials and characters in the Qing Dynasty) was transferred from each department of the Court of Colonial Affairs, or Recruiting translators from other cabinet agencies to complete them in accordance with relevant regulations and procedures.However, since the founding of the Qing Dynasty, the court's requirements for the number of translators had increased,but the talents of The Eight Banners who are proficient in Manchu and Mongolian could not meet the needs of the imperial court until the reign of the Emperor Shunzhi and Kangxi Period,During the reign of the Emperor Yongzheng Period, the situation changed and there were a shortage of interpreters.the Emperor Yongzheng once said:                        --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:34, 16 October 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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近见蒙古旗分能蒙古语言翻译者甚少, 沿习日久则蒙古语言文字必渐至废弃。应照考试清文翻译例考试蒙古翻译, 取生员 、举人 、进士以备理藩院之用。 ……如此则蒙古旗分之人益加鼓励勤学, 蒙古语言文字不至废弃, 而理藩院亦收得人之效矣。[8]203&lt;br /&gt;
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Recently, there are few people who can translate Mongolian in Mongolia,Along with it for a long time, the Mongolian will gradually be obsoleted. The Mongolian translation should be tested refering to the Qingwen translation examination,and students(who is studying in Imperial College and other places in the feudal imperial)、Juren(successful candidates in the imperial examinations at the provincial level) and Jinshi(successful candidates in the highest imperial examinations) should be selected to the court of Colonial Affairs. ……In this way, the Mongols will be encouraged to study harder, the Mongolian language and characters will not be abandoned, and the court of Colonial Affairs will also recuit talents.                                         --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:42, 11 October 2021 (UTC)Liu Wei&lt;br /&gt;
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Recently, few Mongols could do Mongolian-Chinese translation, as a result of which the Mongolian would gradually be obsoleted in a time. The Mongolian-Chinese translation should be tested just as the Manchu-Chinese translation to admit xiucai, juren and jinshi, those who have passed the exam at the county, provincial and the highest level respectively,  into the Lifan Court, the highest authority on affairs of national minorities. ……Thus, the Mongols would be encouraged to learn more, the Mongolian not abandoned, and the Lifan Court  recruiting talents. [8]203--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 07:38, 12 October 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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（[8]中国第一历史档案馆.雍正朝汉文谕旨汇编[Z].桂林：广西师范大学出版社，2008.）为解决此困局，雍正帝即位之初即敕令朝廷各部院衙门分别采取措施，在八旗蒙古人中培养翻译人才。如1723年，即雍正元年，皇帝诏谕八旗蒙古各部建立官学，并命理藩院与吏部考录通晓蒙语者，允许其“考试笔帖式补用”。[9]243&lt;br /&gt;
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([8] The First Historical Archives of China. ''Complication of Emperor Yongzgheng's Edicts''[Z]. Guilin: Guangxi Normal University Press, 2008.) To solve this dilemma, at the beginning of his reign, the emperor Yongzheng commanded the feudal government offices to take measures respectively to cultivate translation talents among Mongols of Eight Banners. In 1723, the first year under the reign of Yongzheng, the emperor ordered Mongols of Eight Banners to establish official schools, and the Lifan Court, the highest authority on affairs of national minorities, and the Ministry of Civil Affairs to admit people who mastered the Mongolian to work as alternatives of bithesis, officials who were engaged in copying and translating Mongolian and Chinese. [9], 243--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 11:12, 20 October 2021 (UTC)&lt;br /&gt;
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([8] The First Historical Archives of China. ''Complication of Emperor Yongzgheng's Edicts''[Z]. Guilin: Guangxi Normal University Press, 2008.) To solve this dilemma, at the beginning of his reign, the emperor Yongzheng commanded the feudal government offices to take measures respectively to cultivate translation talents among Mongols of Eight Banners. In 1723, Emperor Yongzheng reign, he ordered Mongols of Eight Banners to establish official schools, and the Lifan Court, the highest authority on affairs of national minorities, and the Ministry of Civil Affairs to admit people who mastered the Mongolian to work as alternatives of bithesis, officials who were engaged in copying and translating Mongolian and Chinese. [9], 243--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:22, 13 October 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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雍正六年，吏部经过议复，同意了理藩院尚书特古忒的意见，认为今后理藩院中专门负责蒙古事物的官员，必须懂得蒙古文。同时，吏部将会同理藩院，在蒙古各部官学中选拔通晓满、蒙语言的学生和监生，充任翻译工作，“以各部院蒙古笔帖式，换次补用”。[9]290以上诸种虽就蒙古语译员而言，但满、汉之间的翻译亦与此同，由此造成了汉籍满译的相对颓势。&lt;br /&gt;
The 6th year Yongzheng ruling period（1728）,after the discussion， the Ministry of Personnel agreed with the opinion of  Tegute, the minister of court of Colonial Affairs， that the officials in charge of Mongolia affairs in the court of Colonial Affairs must know Mongolian language in the future. At the same time, the Ministry of Personnel will work with the court of Colonial Affairs to select students and supervisors who are familiar with Manchu and Mongolian languages from various Mongolian ministries and schools to serve as translators. [9]290 Although the above types of Mongolian translators are concerned, the translation between Manchu and Chinese is the same, resulting in the relative decline of Chinese manchu translation.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:19, 13 October 2021 (UTC)&lt;br /&gt;
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In the sixth year of Yongzheng Emperor’s reign, the Ministry of Personnel rediscussed and approved the proposal of Tegute, the minister of the Court of Colonial Affairs, that from now on the officials in charge of Mongolia affairs in the Court of Colonial Affairs must know Mongolian. At the same time, the Ministry of Personnel would work with the Court of Colonial Affairs to select students and supervisors who are proficient in Manchu language and Mongolian from various Mongolian ministries and schools to serve as translators. “Admitting the waitlisted Mongolian bithesi to replace the incompetent.” [9]290 Although the measures mentioned above are concerned with Mongolian translator, the translation between Manchu language and Han is the same, resulting in the relative decline of Han-Manchu language translation.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 03:54, 13 October 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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四、乾隆朝的汉书翻译。乾隆朝期间，汉字书籍的翻译与顺、康、雍三朝多有类似，所译作品大体分为两类：一类为儒家经典，另一类为佛教典籍。乾隆帝认为，经义之教可以启迪人心，其翻（重）译虽然废时耗工，但仍属必要。&lt;br /&gt;
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Fourth, the translation of Han books during the reign of Qianlong Emperor. During his administration, the translations of Han books share great similarities with those produced when Shunzhi Emperor, Kangxi Emperor and Yongzheng Emperor were in control. The translations comprise two categories: one is the Confucian classics and the other is sutras. Qianlong Emperor believed that despite the considerable time and effort required in the process, translation (retranslation) is necessary for the teachings of classics could enlighten the people.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:10, 12 October 2021 (UTC)&lt;br /&gt;
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4. The translation of Han books during the reign of Qianlong Emperor. &lt;br /&gt;
During Emperor Qianlong' s administration, translations of Han books shared great similarities with those produced in the reign of Shunzhi Emperor, Kangxi Emperor and Yongzheng Emperor. The translations included two categories: the Confucian classics and Buddhist sutras. Qianlong Emperor believed that despite a great deal of time and effort was required in the process, translation (retranslation) of classics is still necessary,  for which could enlighten people.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 01:21, 13 October 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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以《御制翻译四书》为例，该书由大学士鄂尔泰奉敕在厘定满文本《日讲四书解义》的基础上纂成，于乾隆六年由武英殿首次刊刻，后又于乾隆二十年刊刻满、汉合璧本。关于该书翻译的动机，《御制翻译四书·序》中有着明确的记载：朕于御极之初，命大学士鄂尔泰重加厘定，凡其文义之异同，意旨之深浅，语气之轻重，稍有未协者，皆令更正之。然抑扬虚实之间，其别甚微，苟不能按节揣称，求合于毫芒，而尽祛其疑似，于人心终有未慊然者。&lt;br /&gt;
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Let' s take the example of ''Royal Translation of the Four Books''. By Ortai the grand secretary on emperor' s demand, This version was compiled based on the reorganizatoin of ''Daily Interpretation of the Four Books'' in Manchu. It was printed and published by Wuying Hall in the sixth year of Emperor Qianlong (1741), and reprinted in Manchu-Chinese in 1761.&lt;br /&gt;
The motivation of translating this book was clearly recorded in its iintroduction: After acceded to the throne, I ordered Ortai the grand secretary to review the translation. Consulted the source text and the formal translation, there should be some corrections for the reorganized one to divergences in meaning, differences in implication and changes in tone. However, the actual situation could be suboptimal. The differences were too subtle to translate. And it‘ s hard to convey detailedly the cleverness of the source, though the translators contrived to eliminate the uncertains. Nonetheless, the dissatisfied always exsist.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 00:53, 13 October 2021 (UTC)&lt;br /&gt;
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For instance,the book of ''Royal Translation of the Four Books'',which was compiled on the basic of the reorganizatoin of ''Daily Interpretation of the Four Books'' in Manchu by Ortai the grand secretary on emperor' s demand.It was printed and published by Wuying Hall in the sixth year of Emperor Qianlong (1741), and reprinted in Manchu-Chinese in 1761.&lt;br /&gt;
As for the motivation of the translation of the book,which was recorded clearly in &amp;quot;the preface of Royal Translation of the Four Books&amp;quot;:shortly after my inauguration,I ordered Ortai to review the translation to find the digression from the source text about the meaning,theme,and tone and correct them. However, the actual situation could be suboptimal. The differences were too subtle to translate. And it‘ s hard to convey detailedly the cleverness of the source, though the translators contrived to eliminate the uncertains. Nonetheless, the dissatisfied always exsist.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:45, 13 October 2021 (UTC)（Luo Xi 罗曦）&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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几暇玩索，覆检旧编，则文义、意旨、语气之未能吻合者，仍不免焉。乃亲指授翻译诸臣，参考寻绎（yì），单词只字，昭晰周到，无毫发遗憾而后已。[10]（[10]清高宗敕译.御制翻译四书·序[M].清乾隆二十年武英殿满汉合璧本，无页码.台北：国立故宫博物院藏.）&lt;br /&gt;
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After being thought over and checked by my retrieving some old references，those versions which were incongruous in meaning、theme and tone still need further improvement.Thus，I ordered and instructed official translators in person，searching many references and considering words over and over again，not getting it done until every word being perfect.【10】（10）translated by Gao Zongchi in Qing dynasty.Made by emperor and drawed from four translation books·the first version【M】.The complied version from the palace of Wu Ying in the twentieth year of Qian Long，blank page number. Tai Bei：National imperial Palace.）--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:47, 13 October 2021 (UTC)（Luo Xi罗曦）&lt;br /&gt;
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Even after being thought for several times and checked through retrieving some old references, those versions still needed further improvement that didn't match original ones in terms of textuality, intention and tone. Thus, I commanded and gave instruction to all translators in person, searching many old references and exploring every word to make sure the clarity and  accuracy of translation, no getting it done until there are no regrets left. [10] ([10] Translated by Emperor Gaozong of the Qing Dynasty. The Translation of the Four Books by Imperial Order. Preface[M]. The complied version published in the Hall of Martial Valor in 1755, the 20th year under the reign of Qianlong, blank page number. Taipei: National Palace Museum.)--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:51, 13 October 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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由此可见，鄂尔泰奉敕进行厘定，目的是为了确保译文准确，使译文和原文在“文义”、“意旨”和“语气”上保持一致。乾隆三十三年，高宗敕译《诗经》，共八卷四册，亦由武英殿刊刻。然而，与《御制翻译四书》追求译文精准不同，《御制翻译诗经》则别有目的。&lt;br /&gt;
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It can be seen that the reason why Eertai was ordered by the Emperor to adjust the translation was to make it and the original text consistent in terms of &amp;quot;textuality&amp;quot;, &amp;quot;intention&amp;quot; and &amp;quot;tone&amp;quot;. In the 33th year of Qianlong's reign, Emperor Gaozong had commanded to translate ''The Book of Songs'' consisted of eight volumes and four books, which was also published and engraved by Hall of Martial Valor. ''The Translation of The Book of Songs by Imperial Order'', however, had a different purpose compared with ''The Translation of The Four Books by Imperial Order'' which pursued the accuracy of translation.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 06:40, 12 October 2021 (UTC)&lt;br /&gt;
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Another version: &lt;br /&gt;
It can be seen that Ertai, the famous minister in Qing Dynasty, was ordered by the Emperor to collate and stipulate translation criteria, with the aim of ensuring the accurate translation, so as to keep it consistent with the original text in terms of “textuality”, “intention” and “tone”. In 1768, the 33rd year under the reign of Qianlong, the Emperor Gaozong gave the command to translate ''The Books of Songs'' into 8 volumes and 4 books, which were printed and published in the Hall of Martial Valor. ''The Translation of The Books of Songs by Imperial Order'', however, had different purposes, compared with ''The Translation of The Four Books by Imperial Order'' whose emphasis was put on the precision of translation. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:45, 12 October 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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《御制翻译诗经·序》中说：是经于世祖章皇帝顺治十一年译定初本，体裁已备。阅时兹久，凡《清文鉴》所未赅（gāi）皙者，参采新定国语，侔（móu）揣务极精详。因命分册籖（qiān）题，几馀复为折衷是正。[11]&lt;br /&gt;
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It is said in ''The Translation of The Books of Songs by Imperial Order · Preface'' that the original translation of ''The Books of Songs'' whose genres were comprehensive was finished in 1654, the eleventh year under the reign of Emperor Shunzhi. Having been used for a long time, ''The Manchurian Dictionary in Qing Dynasty'' contains some unintelligible expressions with incomplete meanings which should adopt the new national language, so as to render it detailed and precise. As ministers in Literature Institute were ordered by the Emperor to draft titles of the books by volume, after several revisions, a favorable compromise was obtained.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:05, 12 October 2021 (UTC)&lt;br /&gt;
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It is said in ''The Translation of The Books of Songs by Imperial Order · Preface'' that ''The Books of Songs'' was first translated in the eleventh year of the reign of Emperor Shunzhi. Having been used for a long time, ''The Manchurian Dictionary in Qing Dynasty'' contains some unintelligible expressions with incomplete meanings which should adopt the new national language, so as to render it detailed and precise. As ministers in Literature Institute were ordered by the Emperor to draft titles of the books by volume, after several revisions, a favorable compromise was obtained.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:10, 16 October 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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（[11]清高宗敕译.御制翻译诗经·序[M].清乾隆三十三年武英殿满汉合璧本，无页码.台北：国立故宫博物院藏.）上文中提及“是经”（即《诗经》）的初次翻译，即顺治十一年的顺治帝敕译本，该译本共二十卷二十册，由内府刊刻。然而，自顺治至康熙，满文的字词和语法等已经发生一定变化，用以规范满、汉文互用的辞书相继问世，这一点既给满语学习注入了活力，也给汉书翻译及其重新厘定提出了要求与条件。&lt;br /&gt;
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([11] Translated by Emperor Gaozong of the Qing Dynasty. The imperial translation of The Book of songs - preface [M]. The Manchu-Chinese version of the Wu Ying Hall in the 33rd year of the Qing dynasty, without pagination. (Taipei: National Palace Museum Collection.) The first translation of the Shi Jing (i.e., the Book of Songs) mentioned above was the imperial translation by the Shunzhi emperor in the eleventh year of the reign of Shunzhi, which consisted of twenty volumes and twenty books and was published by the imperial government. However, since the Shunzhi to Kangxi, the words and grammar of Manchu has undergone certain changes to regulate the use of Manchu and Chinese dictionaries came out one after another, this point both to the Manchu language learning injected vitality, but also to the Chinese translation and its re-definition of the requirements and conditions.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 07:21, 12 October 2021 (UTC)&lt;br /&gt;
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([11] Translated by Emperor Gaozong of the Qing Dynasty. The imperial translation of The Book of songs - preface [M]. The Manchu-Chinese version of the Wu Ying Hall in the 33rd year of the Qing dynasty, without pagination. (Taipei: National Palace Museum Collection.) The first translation of the Shi Jing (i.e., the Book of Songs) mentioned above was the imperial translation by the Shunzhi emperor in the eleventh year of the reign of Shunzhi, which consisted of twenty volumes and twenty books and was published by the imperial government. However, from Shunzhi to Kangxi, the words and grammar of Manchu had undergone certain changes. To regulate the mutual-use of Manchu and Chinese dictionaries came out one after another, which not only invigorated Manchu language learning, but also put forward requirements and conditions for the Chinese literature translation and its re-definition. --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:15, 13 October 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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如康熙九年，正黄旗教习廖纶玑翻译（明）张自烈所撰《正字通》。康熙二十二年，沈启亮修成《大清全书》（实际是满汉词典），该书的修纂加深了人们对于满字的认识，也使学者更易明辨翻译之理。康熙四十五年，正白旗人桑格翻译《满汉同文分类全书》。&lt;br /&gt;
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For instance, Liao Lunji, a tutor of Pure Yellow Banner, translated Zheng Zi Tong written by Zhang Zilie (Ming Dynasty). In the twenty-second year of Kangxi reign period, Shen Qiliang accomplished The Great Qing Encyclopedia( actually, The Dictionary of Chinese and Manchu Language), which had deepened people’s understanding of Manchu characters and helped scholars to distinguish the theories and methods of translation. In the forty-five year of Kangxi period, Sanger from Pure White Banner translated A Classification Book of Manchu and Chinese Identical Texts.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 October 2021 (UTC)&lt;br /&gt;
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For instance, in the ninth year of Kangxi reign, Liao Lunji, a tutor of Pure Yellow Banner, translated ''Zheng Zi Tong'' written by Zhang Zilie (Ming Dynasty). In the twenty-second year of Kangxi reign, Shen Qiliang accomplished ''The Great Qing Encyclopedia''( actually, a dictionary of Chinese and Manchu ), which had deepened people’s understanding of Manchu characters and helped scholars to  discern the theories and methods of translation. In the forty-fifth year of Kangxi period, Sanger from Pure White Banner translated the ''Manchu-Chinese Bilingual Classification Dictionary''.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 01:51, 13 October 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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上述三种之外，康熙朝期间另有多种其它满语词典，如康熙二十八年的《清书十二字头》（听松楼刻本）、二十九年的《满汉同文全书》（秘书阁刻本）、三十二年的《同文广汇全书》（天绘阁刻本）、三十八年的《清书全集》（听松楼重刻本）、三十九年的《满汉类书》以及四十年的《满汉类书全集》，等等。康熙四十六年，《御制清文鉴》成书，全书共四函二十二卷，卷首有清圣祖玄烨御制序言，书末有编译者跋两篇。作为有清一代唯一一部由皇帝主持编纂的满文词典，《御制清文鉴》体例精湛，编排合理，在满语的发展史上具有划时代的历史意义。&lt;br /&gt;
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In addition to the above three, there are a variety of other Manchu dictionaries in the Kangxi reign of the Qing dynasty, such as the ''Twelve Syllabic Characters of Manchu'' (Ting Song Lou carved book) in the 28th year of Kangxi Reign, the ''Manchu-Chinese Bilingual Dictionary'' (Mi Shu Ge carved book) in the 29th year, the ''Manchu-Chinese Classification Dictionary'' (Tian Hui Ge carved book) in the 32th year, the ''Complete Manchu-Chinese Dictionary'' (Ting Song Lou re-carved book) in the 38th year, the ''Manchu-Chinese Encyclopedia'' in the 39th year and the ''Complete Manchu-Chinese Encyclopedia'' in the 40th, etc. In the 46th year of the Kangxi reign, the ''Imperial Dictionary of Manchu'' was accomplished in four letters and twenty-two volumes, with an imperial preface by the Kangxi Emperor Aisin Gioro Xuanye, whose temple name is “Shengzu” (Sagacious Progenitor) of the Qing, and two postscripts by the compiler at the end of the book. As the only Manchu dictionary compiled by the emperor in the Qing dynasty, the ''Imperial Manchu Dictionary'' is superb in style and reasonable in arrangement, and has epoch-making historical significance in the history of the development of the Manchu language.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 01:52, 13 October 2021 (UTC)&lt;br /&gt;
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Except the above mentioned three, there are other Manchu dictionaries in the Kangxi reign of the Qing dynasty, such as the ''Twelve Syllabic Characters of Manchu'' (Ting Song Lou carved book) in the 28th year of Kangxi Reign, the ''Manchu-Chinese Bilingual Dictionary'' (Mi Shu Ge carved book) in the 29th year, the ''Manchu-Chinese Classification Dictionary'' (Tian Hui Ge carved book) in the 32th year, the ''Complete Manchu-Chinese Dictionary'' (Ting Song Lou re-carved book) in the 38th year, the ''Manchu-Chinese Encyclopedia'' in the 39th year and the ''Complete Manchu-Chinese Encyclopedia'' in the 40th, etc. In the 46th year of the Kangxi’s reign, the ''Imperial Dictionary of Manchu'' was accomplished in four letters and twenty-two volumes, with an imperial preface by the Kangxi Emperor Aisin Gioro Xuanye, whose temple name is “Shengzu” (Sagacious Progenitor) of the Qing, and two postscripts by the compiler at the end of the book. As the only Manchu dictionary compiled by the emperor in the Qing dynasty, the ''Imperial Manchu Dictionary'' is superb in style and reasonable in arrangement which  has epoch-making historical significance in the history of the development of the Manchu language.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:11, 13 October 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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关于康熙帝敕谕傅达礼编译此书的目的，《清实录》（卷四二）和《清史列传》（第375页）中皆有记载，但不及《康熙起居注》中详实。据《康熙起居注》中所载，康熙十二年四月十二日：上谓侍臣曰：“此时满洲，朕不虑其不知满语，但恐后生子弟渐习汉语，竟忘满语，亦未可知。且满汉文义照字翻译，可通用者甚多。&lt;br /&gt;
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The purposes of Emperor Kangxi which were  he empowered Fu Dali to edit and translate this book were  recorded in ''Factual Record of Qing Dynasty''  of Volume IV and II and in ''the Biographies in the Qing Dynasty'' of page 375. But they were more circumstantial in ''Record on Kangxi’s Daily Life''.  According to 'Record on Kangxi’s Daily Life'',  the emperor said to chancellors on April 12,1673:  I’m not afraid the contemporary Manchuria's ignorance towards Manchu language, but I’m not sure about whether the following generations will be accustomed to the Chinese by degrees and forget the Manchu language. And also the Manchu language is verbatim translated into Chinese, such translation can be used by many people.&lt;br /&gt;
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The purposes of Emperor Kangxi commanding Fu Dali to compile this book were recorded in ''Factual Record of Qing Dynasty'' （volume 42）and ''Biographies of the Qing Dynasty''(page 375) but the purposes logged in the ''Record of Emperor Kangxi’s Daily Office''were more detailed and real. According to this book, the emperor said to those courtiers on April 12,1673: &amp;quot;what I'm worried about is not the contemporary Manchurians’ ignorance of the Manchu language, but rather about whether the following generations will forget the Manchu language or not if they are gradually accustomed to Chinese. In addition, there are plenty of characters which can be in common use when translation is done word by word.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 16:25, 12 October 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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今之翻译者尚知辞意，酌而用之，后生子弟未必知此，不特差失大意，抑且言语欠当，关系不小。”因顾谓翰林院学士傅达礼曰：“尔任翰苑之职，可体朕此意，将满语照汉文字汇发明，某字应如何用，某字当某处用，集成一书，使有易于后学。”傅达礼奏曰：“皇上此旨，诚立教善后之盛心也。&lt;br /&gt;
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Today's translators still know the meaning of those words and use them after deliberating, but for children of the future, they may not understand. Not only will they differ greatly from the original meaning, but also they will use them in an inappropriate way. And it will matter a lot.” So the emperor said to Fu Lida, the academician of Imperial Academy: “ Since you occupy the office in the Imperial Academy, you should be able to read between my lines. Manchu language needs to be further developed according to Chinese characters. By doing this, it will be much easier for our posterity to learn the Manchu language if there are detailed instructions compiled in a book on how and where to use a character.” Fu Dali replied reverently to the emperor: “The will of Your Majesty that improving the education for the convenient learning of later generations really shows your generosity.”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 14:47, 12 October 2021 (UTC)&lt;br /&gt;
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&amp;quot;Nowadays, translators still know the meaning of those words and use them after careful consideration, while for the youth, they may not understand. Not only will they use those words inappropriately, but also the meanings of those words will be quite different from the original one. And it will matter a lot.” So the emperor said to Fu Lida,  who was the academician of Imperial Academy at that time, “ Since you occupy the office in the Imperial Academy, you are able to understand my intention. Manchu language needs to be further developed according to Chinese characters. By doing this, it will be much easier for our posterity to learn the Manchu language if there are detailed instructions compiled in a book on how and where to use a character.” Fu Dali replied reverently to the emperor, “The will of Your Majesty that improving the education for the convenient learning of later generations really shows your generosity.”--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 11:15, 13 October 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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臣等虽不才，当祗尊俞旨，编辑成书，敬呈御览。”上谕曰：“此书不必太急，宜详慎为之，务致永远可传，方为善也。”[6]93-94由于当时的满文尚处在发展阶段，康熙帝担心随着满人逐渐汉化，满语使用的氛围也将逐渐消失，久而久之必致满语废止，这一点与康熙帝以清语为本的立场背道而驰。&lt;br /&gt;
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&amp;quot;Although we courtiers have limited ability, we will compile them into a book according to the your intention, and submit it to you for previewing&amp;quot;.The emperor indicated that, &amp;quot;this work should not be advanced too quickly but completed in detail and carefully，so that the book can be handed down forever, then the work is said to be finished well.&amp;quot; As the Manchu language was still in the development stage at that time, Emperor Kangxi worried that with the gradual sinicization of Manchu people, the atmosphere of using Manchu language  would disappear in the process of time, which would inevitably lead to the abolition of Manchu language over time. And this situation ran counter to Emperor Kangxi's position based on Qing language.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 06:16, 12 October 2021 (UTC)&lt;br /&gt;
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&amp;quot;Although we courtiers are not talented, we will compile them into a book in accordance with your mandate, and submit it for your previewing&amp;quot;.The emperor indicated that, &amp;quot;this work should not be advanced too quickly but completed detailedly and carefully，so that the book can be handed down forever, then the work is said to be finished well.&amp;quot; [6] 93-94 As the Manchu language was still in the development stage at that time, Emperor Kangxi worried that with the gradual sinicization of Manchu people, the atmosphere of using Manchu language would disappear in the process of time, which would inevitably lead to the abolition of Manchu language over time. And this situation ran counter to Emperor Kangxi's position based on Qing language.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 06:35, 12 October 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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为了确保本书编译的严谨，康熙帝要求“解诂之疑,似者必晰同异于毫芒；引据之阙，遗者必援经史以互证。”[12]1（[12]清圣祖御制.御制清文鉴[M].康熙四十七年武英殿刻本.北京：中国民族图书馆藏.）需要指出，上文中所引“是经”即《御制翻译诗经》，该译本成书于乾隆三十三年。&lt;br /&gt;
In order to ensure the rigor of the compilation of this book, Emperor Kangxi required: “ To interpret the doubts of exegesis, the similarities must be clear and the differences puny; if there is a lack of quotations, successors must cite the ancient classics to verify them.” [12]1 ( [12] Emperor Shengzu of Qing Dynasty. Imperial Qing Literature  [M]. The engraving of Wuying Palace in the forty-seventh year of Kangxi. Beijing: Collection of National Library of China.) It should be pointed out that the “Shi Jing” quoted above is the “Royal Translation Book of Songs”, which was translated into a book in the thirty-third year of Qianlong.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:43, 12 October 2021 (UTC)&lt;br /&gt;
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In order to ensure the preciseness of the compilation of this book, Emperor Kangxi required: “ To interpret the doubts of exegesis, the similarities must be clear and the differences puny; if there is a lack of quotations, successors must cite the ancient classics to verify them.” [12]1 ( [12] Emperor Shengzu of Qing Dynasty. Imperial Qing Literature  [M]. The engraving of Wuying Palace in the forty-seventh year of Kangxi. Beijing: Collection of National Library of China.) It should be pointed out that the “Shi Jing” quoted above is the “Royal Translation Book of Songs”, which was translated into a book in the thirty-third year of Qianlong.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 10:47, 13 October 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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此时，虽然《御制四体清文鉴》和《御制五体清文鉴》的编译尚未启动，但经乾隆帝御制，已在康熙朝《御制清文鉴》和《清文合蒙古鉴》等早期词典的基础上，完成编纂《御制增订清文鉴》，进一步规范了满文的使用。且，顺治至乾隆的百余年间，满语发展的确出现了若干变化，原有汉书译本中的不少词汇和语法此时已不符合通行要求，因而“参采新定国语”，对旧译本重加厘定，使其“折衷为正”，乃时势所趋。而上述辞书的相继出现，说明满文已经发展到一个新的高度，为旧籍的重译与改译营造了条件。&lt;br /&gt;
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At this time, although the compilation of the ''Four Institutions of the Imperial Dynasty'' and the ''Five Dynasties'' has not yet started, the compilation of the ''Complement of the Qing Dynasty's Dictionary'' was completed based on the early dictionaries of the Qing Dynasty and the Kangxi Dynasty with the help of Qianlong emperor, which further standardizes the use of Manchu literature.Moreover, during the more than 100 years from Shunzhi to Qianlong, several changes in the development of Manchu indeed appeared. Many vocabulary and grammar in the original Han translation did not meet the prevailing requirements at that time. Therefore, it was the trend to &amp;quot;participate in the new language&amp;quot; and determine the old translation, so that it was &amp;quot;positive&amp;quot;.The emergence of the above dictionaries shows that Manchu has developed to a new height, creating conditions for the retranslation and translation of the old nationality.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:52, 12 October 2021 (UTC)&lt;br /&gt;
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At this time, although the compilation of the ''Four Institutions of the Imperial Dynasty'' and the ''Five Dynasties'' has not yet started, the compilation of the ''Imperial Revised Qing Dynasty's Dictionary'' was completed based on the early dictionaries such as ''Imperial Qing Dynasty’s Dictionary'' in the Kangxi Dynasty, which further standardizes the use of Manchu. Moreover, during the more than 100 years from Shunzhi to Qianlong, several changes in the development of Manchu indeed appeared. Many vocabularies and grammar in the original Chinese translation did not meet the common requirements at this time. Therefore, it was the trend to &amp;quot;adopt the new national language&amp;quot; and redefined the old translation to make it “compromise to right”. The emergence of the above dictionaries shows that Manchu has developed to a new level, creating conditions for the retranslation and translation of old books.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:04, 12 October 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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乾隆三十七年，高宗敕令于“禁中”设立“清字经馆”，以满、汉文佛经译本有失本真为由，令重译佛经为满文。据高文德所考，这些佛经典籍初被译为蒙古，后经蒙文转译成满文，前后历时十余载，使满、蒙、汉、藏四体经文始备。[13]2110（[13]高文德.中国少数民族史大辞典[Z].长春：吉林教育出版社，1995.）&lt;br /&gt;
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In the thirty-seventh year of Qianlong, Emperor Gaozong decreed to set up a “Manchu sutra hall” in the palace he lived, and ordered the retranslation of Buddhist sutras into Manchu on the grounds that the previous Manchu and Chinese versions were deviated from the true meaning. According to Gao Wende, these Buddhist classics were first translated into Mongolian, through which the Manchu version was then translated. It took more than ten years to prepare the editions in four languages: Manchu, Mongolia, Chinese and Tibet. [13]2110（[13]Gao Wende.Dictionary of Chinese Minority History[Z].Changchun: Jilin Education Press, 1995.）--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:08, 12 October 2021 (UTC)&lt;br /&gt;
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First:In the 37th of Emperor Qianlong’ s reign,…&lt;br /&gt;
Second:According to Gao Wende, these Buddhist scriptures were first translated into Mongolian and then into Manchu, which lasted for more than ten years, and the manchu, Mongolian, Han and Tibetan scriptures began to be prepared. [13] Gao Wende. A Dictionary of Chinese Minority History [Z]. Changchun: Jilin Education Press, 1995.)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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众所周知，佛教经典原以梵文书写，但清朝前期用作翻译的底本，多为汉文译本。从此意义上讲，佛经的翻译与先秦、两汉时期汉文经、史的翻译一样，也属汉书翻译之列。康熙年间，圣祖即令翻译《心经》，但雍正年间《四体翻译心经》译本方才成书，刊刻。&lt;br /&gt;
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As we all know, Buddhist classics were originally written in Sanskrit, but they were mostly translated into Chinese in the early Qing Dynasty. In this sense, the translation of Buddhist scriptures, like the translation of Chinese scriptures and history in the pre-Qin and Han dynasties, also belongs to the translation of Han Books. During the reign of Emperor Kangxi, Emperor Shengzu ordered the translation of The Heart Sutra, but during the reign of Emperor Yongzheng, the four-body Translation of the Heart Sutra was just completed and printed.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 12:47, 30 December 2021 (UTC)&lt;br /&gt;
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As we all know,Buddhist classics were originally written in Sanskrit,but most of texts that used to translate in the early Qing Dynasty were Chinese translation versions. In this sense,the translation of Buddhist scriptures,just like the translation of Chinese scriptures and history in the Pre-Qin and Han Dynasties, also belongs to the translation of Chinese books. During the reign of Kangxi, Emperor Shengzu ordered the translation of the Heart Sutra, but the translation of the four body translation of the Heart Sutra was only published and engraved during the reign of Yongzheng.  edited by Wang Zhenlong&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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所谓“四体”即满、蒙、汉、藏四种文字，佛经翻译之所以要采用四种语言，是因为四大族群皆普遍信仰佛教，因而四体合璧的译本便于信众诵读。乾隆在位六十年，对于佛经翻译甚为热衷，御制翻译经书十种，为顺、康、雍、乾四朝之最。《翻译四体楞严经序》中，乾隆帝曾自称“朕于几政之暇，每爱以国语翻译经书，如《易》、《书》、《诗》及《四子书》，无不蒇（chǎn）事”，希望循康、雍之例，推动佛经翻译，并在敕译《诗经》的同时，完成第一部佛经作品的翻译，即《御制翻译名义集》。[14]15&lt;br /&gt;
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The so-called &amp;quot;four styles&amp;quot; are Manchu, Mongolian, Chinese and Tibetan. The reason why Buddhist scriptures are translated in four languages is that the four ethnic groups generally believe in Buddhism, so the translation of four styles  is convenient for believers to read. During the reign of Emperor Qianlong for 60 years, he was very keen on the translation of Buddhist scriptures and translated ten kinds of scriptures, which is the most among the four dynasties of Shun, Kang, Yong and Qian. In ''the preface to translating the four body Shurangama Sutra'', Emperor Qianlong once claimed that &amp;quot;in my spare time, I love to translate scriptures in Manchu, such as Yi, Shu, Shi and Si Zi Shu ,which are all well finished. I hope to follow the example of Kang and Yong to promote the translation of Buddhist scriptures, and complete the translation of the first Buddhist scriptures, namely the collection of imperial translation while the Book of Songs is translated. -- translated by Wang Zhenlong&lt;br /&gt;
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The so-called &amp;quot;four styles&amp;quot; are Manchu, Mongolian, Chinese and Tibetan. The reason why Buddhist scriptures are translated in four languages is that the four ethnic groups generally believe in Buddhism, so the translation of the combination of four styles is convenient for believers to read. During the reign of Emperor Qianlong for 60 years, he had strong passion on the translation of Buddhist scriptures. He translated ten kinds of scriptures totally, which is the most among the four emperors of Shun, Kang, Yong and Qian. In the preface to ''Translating Four Style Shurangama Sutra'', Emperor Qianlong once claimed that &amp;quot;in my spare time, I love to translate scriptures in Manchu, such as ''Yi'', ''Shu'', ''Shi'' and ''Si Zi Shu'' , which are all well finished. I hope to follow the example of Kang and Yong to promote the translation of Buddhist scriptures, and complete the translation of the first Buddhist scriptures, namely ''The Collection of Translation of Sanskrit Names by Imperial Order'' while ''the Book of Songs'' is translated.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:41, 13 October 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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（[14]清高宗御制.清高宗（乾隆）御制诗文全集[M].北京：中国人民大学出版社，1993.）所谓《翻译名义集》系南宋高僧法云于绍兴十三年（即1143年）编订的佛学翻译工具书，其中收录汉译梵文佛学名词千余条。雍正年间，世宗曾命人对此书的内容进行过节选，但未能成书。&lt;br /&gt;
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([14] ''The Collective Works of Poetry and Essays written by Imperial Order of Qing Gao Zong, Qianlong Empire''[M]. Beijing: Renmin University of China Press, 1933.) The so-called ''The Collection of Translation of Sanskrit Names'' is a Buddhist translation reference book compiled by an eminent monk in Southern Song Dynasty in Shaoxing thirteenth year (1143 year), in which collected thousands of Chinese translation of Sanskrit Buddhist terms. During Yongzheng years, Shizong once ordered ministers to choose the excerpt from the book, but finally cannot compile into a book.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 15:51, 12 October 2021 (UTC)&lt;br /&gt;
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([14] ''The Collective Works of Poetry and Essays by Imperial Order of Qinggaozong, Qianlong Emperor''[M]. Beijing: Renmin University of China Press, 1933.) The so-called ''The Collection of Translation of Sanskrit Names'' is a reference book of Buddhist translation compiled by an eminent monk in Southern Song Dynasty in Shaoxing thirteenth year (1143 year), which collected thousands of Chinese translation of Sanskrit Buddhist terms. During Yongzheng years, Shizong once ordered the ministers to choose the excerpts from the book to compile a book but failed.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 11:00, 13 October 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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至乾隆三十三年，高宗再次敕译此书，最终译成四体《御制翻译名义集》共二十卷，此书现藏于北京大学图书馆，并收入至《清代内府刻书目录解题》。与此同时，乾隆帝有感于“所译之汉经，藏地无不有，而独无《楞严》”，遂在章嘉国师的议请下，命允禄和章嘉国师等将该经“由汉而译清，由清而译蒙古，由蒙古而译土伯忒。”[14]15章嘉国师原名章嘉·若贝多杰，四岁被认定为转世灵童，八岁奉雍正帝圣谕赴京，十五岁给雍正帝灌顶，十八岁授封“灌顶普惠广慈大国师”。&lt;br /&gt;
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In the 33th year of the dynasty of Qianlong, the emperor ordered to translate the book again. Finally, the book ''The collection of Translation of Sanskrit Names by Imperial Order'' was translated into Manchu, Mongolian, Chinese and Tibetan in altogether twenty volumes. The book now is collected in Peking University Library and included in ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty''. At the same time, after Qianlong emperor knew that there were all translations of Chinese scriptures except ''Lengyan'' in Tibet, under the advice of the Grand Maester Zhangjia he ordered Yunlu and the Grand Maester to translate the Chinese scripture into Manchu, then translate the Manchu to Mongolian, finally translate the Mongolian to Tibetan. The original name of the Grand Maester Zhangjia is Zhangjia•Ruobeduoje. When he was four years old, he was regarded as a holy reincarnation. At his eight years old he went to the capital because of the order of Yongzheng emperor. When he was fifteen years old, he did Abhisheka for Yongzheng emperor.  At his eighteen years old the title of Grand Maester of Abhisheka, Generosity and Benevolence was conferred to him.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 15:16, 12 October 2021 (UTC)&lt;br /&gt;
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During the 33th year of Qianlong, Gaozong ordered to translate this book again. At last, the book ''The Collection of Translation of Sanskrit Made by the Emperor Order'' was translated into Manchu, Mongolian, Chinese and Tibetan, including twenty volumes. This book now is collected in Peking University Library and recorded in ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty''. Meanwhile, Emperor Qianlong was inspired by &amp;quot;All the Chinese sutras translated are available in Tibet, except the Surangama Sutra.&amp;quot;  As a result, the emperor ordered Yunlu and the Grand Maester Zhangjia to translate this sutra from Chinese into Qing, from Qing into Mongol, then from Mongol under the advice of the Master Zhangjia. The primitive name of Maester Zhangjia was Zhangjia•Ruobeiduoje. He was regarded as a reincarnated soul boy at four years old. At eight years old, he went to the capital city because of the order of Yongzheng emperor. When he was fifteen years old, he did Abhisheka for Yongzheng emperor.  At his eighteen years old, he was canonized as &amp;quot;The Enlightened, Inclusive and Philanthropic Grand Master.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:29, 13 October 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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章嘉国师博览群书，通晓汉、藏、满、蒙文字，著述颇丰，既撰写佛经作品逾二百部，又翻译佛经若干，如乾隆五年将大藏经《丹珠尔》译成蒙文，并编纂佛经翻译工具书《智慧之源》。章嘉国师发现《楞严经》后，于乾隆十七年奉旨协助庄亲王将该书译为满蒙、藏三种文字，并于乾隆三十八年译成四体合璧本。乾隆帝敕译此书的目的，也是出于政治方面的考虑，简单来说便是为了向藏族宣告其统治的正当性。&lt;br /&gt;
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Master Zhangjia was well-read, thoroughly understanding  Chinese, Tibetan, Manchu and Mongolian. He has written a prodigious number of famous works, including not only more than two hundred  Buddhist works, but also numerous Buddhist texts. For instance, he translated the ''Tanjur'' into Mongolian during the fifth year of Qian Long and compiled ''The Source of Wisdom'', a Buddhist translation reference book. After Master Zhangjia found ''Surangama Sutra'', he assisted Prince Zhuang in translating this book into Manchu, Mongolian and Tibetan during the seventieth year of Qianlong under the order of Qian Long. Besides, he accomplished an overall translation of it which contained all Chinese, Tibetan, Manchu and Mongolian versions during the thirty-eighth year of Qian Long. The emperor Qian Long ordered the translation of this book was for the political reasons. To put it simply, he aimed to declare the legitimacy of his rule to the Tibetans.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:37, 12 October 2021 (UTC)&lt;br /&gt;
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Master Zhang Jiaguo was familiar in Han, Tibetan, Manchu and Mongolian writings. He wrote more than 200 works of Buddhist scriptures, and at the same time also translated several Buddhist scriptures. For example, in the fifth year of Qianlong translated the Tibetan Sutra into Mongolian, and compiled the translation tool book The Source of Wisdom. After Master Zhang Jiaguo discovered the Leng Yan Sutra, in the seventeenth year of Qianlong, he assisted the translation of Mongolia and Tibet, and into the combination of the four bodies in the 38-th year of Qianlong. The purpose of Emperor Qianlong's translation of this book was also for political considerations, but simply to declare the legitimacy of his rule to the Tibetan people. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 07:50, 12 October 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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这一点与《大藏经》的翻译有所不同，后者除了政治目的之外，另有文化建设方面的考虑，乾隆帝甚至将其视为与《四库全书》一样的重大文化建设工程。如《清文翻译全藏经序》中所说：若订《四库全书》及以国语译《汉全藏经》二事，胥举于癸巳年六旬之后，既而悔之，恐难观其成。越十余载，而《全书》成；兹未逮二十载，而所译《汉全藏经》又毕蒇。&lt;br /&gt;
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This point is different from the translation of the ''Tibetan Tripitaka'' ''Italic text'' --[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC), which had political purposes in addition to cultural construction. Emperor Qianlong even regarded as a major cultural construction project as the ''Four Libraries''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC). As said in the preface of the ''Complete Tibetan Sutra of the Qing Dynasty''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC), if the Four liberals book ''Complete Collection of Four Treasuries''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC) and the Complete Han Tibetan Sutra  were translated in Chinese after the 60s of Guisi, it may not be difficult to see it. More than ten years, and the book, which was not caught twenty years, and the translation of the &amp;lt;Han Sutra&amp;gt; had been finished.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 15:18, 11 October 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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夫耳顺、古希已为人生所艰致，而况八旬哉？兹以六旬后所创为之典，逮八旬而得观国语《大藏》之全成，非昊乾嘉庇，其孰能与于斯？[14]8-9《四库全书》之“四库”系指该书分经、史、子、集四部，故名“四库”。&lt;br /&gt;
At the age of 60 or 70, life has reached a difficult stage. What's more, at the age of 80? I was preparing to propose to create this classic in my 60s, so I could see the complete Manchu version of Da Zang in my 80s. If there was no heaven's protection during the Qianlong and Jiaqing dynasties, how could it be so far? “Si Ku&amp;quot; in Si Ku Quan Shu means that the book is divided into four parts: classics, history, Zi and Ji, so it is called &amp;quot;Si Ku&amp;quot;.&lt;br /&gt;
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For those who are in their 60s or 70s,  life has reached a difficult stage, let alone 80s. However, now Emperor Qianlong successfully created this classic in his 60s, and witnessed  the completion of the Manchu version of ''Tibetan Tripitaka'' in his 80s. If without heaven's protection and endowment, who could have achieved so far? The “four branches” in the ''Complete Library in the Four Branches of Literature'' refers to its four parts: classics, history, philosophy and belles-lettres, thus given the name.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 02:40, 13 October 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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作为古代中国最大的文化工程，《四库全书》是中华传统文化最丰富、最完备的集成之作，最能体现乾隆帝的文治武功。而上文中，乾隆帝意欲将《大藏经》（即《汉全藏经》）的翻译与《四库全书》相比，可见此事关系之重大。由上可知，《大藏经》的翻译始于乾隆“癸巳年”，即乾隆三十八年（1773年），至全书译成，“未逮二十载”，而此时高宗已近八旬，早已步入人生艰困之期。&lt;br /&gt;
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As the largest cultural project of the ancient China, the ''Complete Library of the four Branches of Literature'' is the richest and most comprehensive collection of Chinese traditional culture, which best represents the great achievement of Emperor Qianlong's civil administration. As mentioned before, Emperor Qianlong wanted to compare the translation of ''Tibetan Tripitaka'' to that of the ''Complete Library of the four Branches of Literature'', which reflects the significance of this translation project. From above, it can be seen that this project started from 1773, the 38th year of Qianlong's reign and took less than 20 years to be fully completed, when Emperor Qianlong was nearly in his 80s, and had already entered a difficult time of his life.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:51, 13 October 2021 (UTC)&lt;br /&gt;
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As the largest cultural project of the ancient China, the ''Complete Library of the Four Branches of Literature'' is the richest and most completed collection of Chinese traditional culture, which best represents the political and military achievements of Emperor Qianlong's civil administration. As mentioned above, Qianlong wanted to compare the translation of ''Tibetan Tripitaka'' to that of the ''Complete Library of the Four Branches of Literature'', which reflects the significance of this translation project. From above, it can be seen that this project started from 1773（the 38th year of Qianlong's reign） and took less than 20 years to be fully completed, while Qianlong was nearly in his 80s, and had already entered a difficult time of his life.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 04:01, 13 October 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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关于乾隆帝敕译《大藏经》一事，《啸亭杂录·续录》中也有记载，不过在翻译的起始时间，以及全书翻译的耗时上，与上文所述有所不同。其中写道：乾隆壬辰，上以《大藏佛经》有天竺番字、汉文、蒙古诸翻译，然其禅悟深邃，故汉经中咒偈，为代以翻切，并未译得其秘指，清文句意明畅，反可得其三味，故设清字经馆于西华门内，命章嘉国师经理其事，达天、连筏诸僧人助之，考取满謄录、纂修若干员翻译经卷。先后凡十余年，《大藏》告蒇，然后四体经自始备焉。[15]385&lt;br /&gt;
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As for Qianlong's order to translate Tripitaka, it is also recorded in the The continuation of Xiaoting Miscellany. However, the starting and ending time of the translation and the time of the whole book's translation consumed, which are quite different from those mentioned above. It is written that Qianlong thought Tripitaka had Hindi, Chinese and Mongolian versions, but the teachings in Sutra are profound.Therefore, the translation of Buddhist Chants in Han Sutra didn't seek the profound meaning. So Qianlong set up Manchu Lection Department in Xihua gate because of the clearness of Manchu to understand the meaning of the Buddhist Sutra, ordering Zhangjia to charge this translation work with assistance of monks such as Datian, Lianfa and selecting some Manchu to transcribe compile scriptures. For more than ten years, the translation work of Tripitaka was completed，and since then the four scriptures are complete.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 02:55, 13 October 2021 (UTC)&lt;br /&gt;
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As for Qianlong's order to translate Tripitaka, it is also recorded in the The continuation of Xiaoting Miscellany. However, the starting and ending time of the translation and the time of the whole book's translation consumed, which are quite different from those mentioned above. It is written that Qianlong thought Tripitaka had Hindi, Chinese and Mongolian versions, but the teachings in Sutra are profound.Therefore, the translation of Buddhist Chants in Han Sutra didn't seek the profound meaning. So Qianlong set up Manchu Lection Department in Xihua gate because of the clearness of Manchu to understand the meaning of the Buddhist Sutra, ordering Zhangjia to charge this translation work with assistance of monks such as Datian, Lianfa and selecting some Manchu to transcribe compile scriptures. For more than ten years, the translation work of Tripitaka was completed，and since then the four scriptures are completed.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 03:11, 13 October 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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（[15]（清）昭梿.啸亭杂录·续录[M].上海：上海古籍出版社，2012.）将《清文翻译全藏经序》和《啸亭杂录·续录》两相对比后可发现，二者关于《大藏经》翻译的起始时间不同，其中前者记载的时间是乾隆“癸巳年”，即乾隆三十八年，而后者则明确是“乾隆壬辰”，即乾隆三十七年，孰是孰非，有待考证。另外，关于《大藏经》翻译的实践跨度，二者的出入较大，前者的用词是“未逮二十载”，后者则说“先后凡十余年”，综合其它文献可知，前一种说法更为准确。&lt;br /&gt;
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([15] (Qing) Zhaofan. Miscellaneous Records - Sequel [M]. (Shanghai: Shanghai Ancient Books Publishing House, 2012.) After comparing the &amp;quot;Preface to the Qing Translation of the Complete Tibetan Sutra&amp;quot; with the &amp;quot;Xiao Ting Miscellaneous Records - Continuing Records&amp;quot;, we can find that the start time of the translation of the Dazang Sutra in this two books is differant, of which the former is recorded in the Qianlong &amp;quot;kaisi year&amp;quot;, that is, the thirty-eighth year of the Qianlong era, while the latter is clearly &amp;quot;Qianlong renchen&amp;quot;, i.e., the thirty-seventh year of the Qianlong reign, which is correct or incorrect, remains to be verified. In addition, there is a large discrepancy between the two regarding the practical span of the translation of the Dazangjing, with the former using the phrase 'before it had been twenty years' and the latter saying 'for more than ten years in succession', which, when combined with other documents, is more accurate.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 14:08, 11 October 2021 (UTC)&lt;br /&gt;
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([15] (Qing) Zhaofan. Miscellaneous Records - Sequel [M]. (Shanghai: Shanghai Ancient Books Press, 2012.) After comparing the &amp;quot;Preface to Tripitaka in Manchu&amp;quot; with the &amp;quot;Xiao Ting Miscellaneous Records - Sequel&amp;quot;,we can find that the starting time of the translation of the Dazang Sutra in these two books is differant, of which the former is recorded in the Qianlong &amp;quot;kaisi year&amp;quot;, that is, the thirty-eighth year of the Qianlong reign, while the latter is specifically &amp;quot;Qianlong renchen&amp;quot;, i.e., the thirty-seventh year of the Qianlong reign, which is correct or incorrect remains to be verified.  In addition, there is a large discrepancy between the two regarding the practical span of the translation of the Dazangjing, with the former using the phrase 'before it had been twenty years' and the latter saying 'for more than ten years in succession', which, when combined with other documents, is more accurate.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 02:04, 13 October 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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乾隆五十五年，满文本《大藏经》译成，初定名《清文全藏经》，其中“全藏”二字即“大藏之全”的意思。《清文全藏经》共计二千五百三十五卷、一百零八函，收入佛教典籍六百九十九部。为了翻译此书，乾隆帝不仅钦派章嘉国师主持，而且派皇子、大臣，以及通晓满、汉、蒙、藏文者共百余人参与其中，其中绝大多数为翻译人员。&lt;br /&gt;
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During the 40th year of the Qianlong Emperor,the translation of &amp;quot;Tripitaka&amp;quot; first called &amp;quot;Tripitaka in Manchu&amp;quot; was completed, among which &amp;quot;quan zang&amp;quot; means &amp;quot;all-sided masterpiece&amp;quot;. The translation had 2535 volumes and 108 han, including 699 Buddhist classics.In order to translate the work, Qianlong Emperor not only assigned Zhang Jiaguoshi to be in charge and asked his sons, ministers and hundreds of people who were proficient in Manchu, Chinese and Tibetan to be involved. And most of them were translator.&lt;br /&gt;
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During the 40th year of the Qianlong Emperor, the translation of &amp;quot;Da Zang Jing&amp;quot; first called &amp;quot;Qing Wen Quan Zang Jing&amp;quot; was completed, among which &amp;quot;Quan Zang&amp;quot; means &amp;quot;all-sided masterpiece&amp;quot;. The translation had 2535 volumes and 108 letters, including 699 Buddhist classics. In order to translate the work, Qianlong Emperor not only assigned Zhang Jia, the imperial monk, but also assigned more than 100 people, most of whom were translators, to participate in the translation, including the emperor's sons, ministers, and people who were proficient with Manchu, Chinese, Mongolian and Tibetan.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 02:15, 13 October 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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乾隆五十五年十二月，因清字经馆遭遇火灾，《清文全藏经》的部分经版和已经刊刻的经文译文被毁，后经重新雕版印刷，于乾隆五十九年全部完成，并交内府刊刻。据考，《清文全藏经》共计印刷十二部，目前存世仅两部，其中一部存于西藏布达拉宫（缺一册），另一部则由北京、台北两地故宫博物院共同收藏，其中北京收藏七十六函，台北收藏三十二函。如前所述，乾隆帝敕译此经，有着明确的文化建设的用意，希望通过翻译佛经推广佛教文化，并同时推广作为国语的满文，实现宣扬教化的目的。&lt;br /&gt;
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In December of the 55th year during the period of Emperor Qianlong, due to a fire in the Qing Zi Classics library, some base plate of &amp;quot;Qing Wen Quan Zang Jing&amp;quot; and translated texts already printed were destroyed. After re-engraving and printing, it was completed in the 59th year of the reign of Emperor Qianlong and handed over to the imperial Palace for printing. According to a research, there are a total of twelve copies of the &amp;quot;Qing Wen Quan Zang Jing&amp;quot; printed, of which only two are in existence.  One is stored in the Potala Palace in Tibet (one volume is missing), and the other is jointly collected by the Palace Museums in Beijing and Taipei, of which 76 letters are in Beijing and 32 letters are in Taipei. As mentioned above, Emperor Qianlong translated the Sutra with a clear intention of cultural construction, He hoped to promote Buddhist culture through the translation of Buddhist scriptures, and at the same time promote Manchu as the national language, so as to achieve the purpose of propagating and enlightening.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 01:23, 13 October 2021 (UTC)&lt;br /&gt;
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In December of the 55th year during the period of Emperor Qianlong, due to a fire in the Manchu Langugage Classics Library, some base plates of ''the Manchu Language Translation of Tripitaka'' and translated texts that already printed were destroyed. After re-engraving and printing, it was completed in the 59th year of the reign of Emperor Qianlong and handed over to the Imperial Palace for printing. According to a research, there are a total of twelve copies of the ''the Manchu Language Translation of Tripitaka'' printed, of which only two are in existence.  One is stored in the Potala Palace in Tibet (one volume is missing), and the other is jointly collected by the Palace Museums in Beijing and Taipei, of which 76 letters are in Beijing and 32 letters are in Taipei. As mentioned above, Emperor Qianlong issued the edict to translate the ''Tripitaka'' with a clear intention of cultural construction. He hoped to promote Buddhist culture through the translation of Buddhist scriptures, and at the same time to promote Manchu language as the national language, so as to achieve the purpose of propagating and enlightening.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 05:38, 13 October 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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正如乾隆帝在《清文翻译全藏经序》中指出的那样：以国语译《大藏》，恐人以为惑于祸福之说，则不可不明示其意。夫以祸福趋避教人，非佛之第一义谛也。第一义谛，佛且本无，而况乎祸福乎？&lt;br /&gt;
As Emperor Qianlong pointed out in ''the Preface to the Manchu Language Translation of the Whole Tripitaka'' : if we translate ''Tripitaka'' in Manchu language, I am afraid of that people misunderstand us for being confused by misfortunes and blessings. So we must express our intension clearly. It is not the absolute truth of Buddha to teach people with avoiding misfortunes and chasing after blessings. The absolute truth is that there is no Buddha, let alone misfortunes and blessings?--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 01:00, 13 October 2021 (UTC)&lt;br /&gt;
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if we translate ''Tripitaka'' in Manchu language, I am afraid that people misunderstand us for being confused by misfortunes and blessings.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 00:55, 13 October 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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我们不可以因为第一义训的原因，用因缘祸福作为引导逐渐深入。我的目的并不在此，梵经首先是被翻译成外语，再翻译成汉语，最后才翻译成蒙古语，而我们清朝统治中国一百多年，他们三方长期以来都归我们管，如果唯独缺满语的《大藏经》可以吗？&lt;br /&gt;
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We can't use reason, misfortune and blessing as a guide to gradually deepen because of the first righteous precept. My purpose is not here. The ''Sanskrit'' scriptures were first translated into a foreign language, then translated into Chinese, and finally translated into Mongolian. And our Qing Dynasty ruled China for more than 100 years.  They have been under our control for a long time. Is the ''Tripitaka'' without Manchu language okay?&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 00:48, 13 October 2021 (UTC)&lt;br /&gt;
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If only the ''Dazangjing'', which lacks Manchu language, is okay?--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:52, 13 October 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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以汉译国语，俾中外胥习国语，既不解佛之第一义谛，而皆知尊君亲上、去恶从善，不亦可乎？是则朕以国语译《大藏》之本意，在此不在彼也。[14]9;[16]28（[16]庄吉发.国立故宫博物院典藏《大藏经》满文译本研究[A].庄吉发.清史论集（三）[C].台北：文史哲出版社，1998：27-96.）&lt;br /&gt;
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They translated the book from Chinese into Manchu Language, Let everyone learn Manchu Laguage, Even if they don’t understand the First Substance of the Buddhist scriptures, will still know that the emperor himself on the linem，To remove the bad parts and follow the good parts，Isn't it a good thing? That’s why I wanted to translate the ''Tripitaka''  in Manchu Language. [14]9;[16]28（[16] Chuang Chi-fa. A Study of the Manchu Language  Version of ''Tripitaka'' from the Collection of the Palace Museum [A]. Chuang Chi-fa. Collection of Qing History (III)[C].Taipei：Literature ,History and philosophy Press，1998：pp 27-96.)--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:43, 13 October 2021 (UTC)&lt;br /&gt;
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Translate the Tripitaka from Mandarin into Manchu so that everyone can learn Manchu. Although they do not understand the true meaning of Buddhist scripts, they all know that they should respect the monarch and do good. Isn't that also useful?Therefore, the original intention of my order to translate the Tibetan Tripitaka into Manchu is for this goal.[14]9;[16]28 ([16] Zhuang Jifa. A Study of the Manchu Language  Version of ''the Tibetan Tripitaka''from the Collection of thePalace Museum [A]. Zhuang Jifa. Collection of Qing History (III)[C].Taipei：Literature ,History and philosophy Press，1998：pp 27-96.)--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:35, 13 October 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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上文中，清楚地表明了乾隆帝谕令翻译此经的用意，总结起来无外乎三点：其一，《大藏经》已有汉、藏、蒙语三种译本，独缺满文本，这一点与满洲为天下主的社会现实格格不入；其二，满语既为国语，则必须维持，并强化其学习，翻译《大藏经》这样的佛教经典乃是达成此目的的重要途径；其三，《大藏经》的翻译虽不能使人东西佛之第一义谛，但通过研习其中教义，也能使人尊君亲上，去恶扬善，培养人伦纲常观念。固然，《大藏经》的翻译并非乾隆朝佛经翻译的全部，但却是其中关系最切，最具代表性者，它所蕴含的政治、文化目的贯穿于所有佛教经典的翻译之中。&lt;br /&gt;
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The above clearly shows the intention of Emperor Qianlong's order to translate this sutra. To sum up, there are no more than three points:First, there are three versions of the Tibetan Tripitaka in Chinese, Tibetan and Mongolian, but there is a lack of full texts, which is incompatible with the social reality that Manchuria is the master of the world.Second, since Manchu has been the national language, it is necessary to maintain and strengthen its learning, and the translation of Buddhist scriptures such as the Tibetan Tripitaka is an important way to achieve this goal.Third, although the translation of the Tibetan Tripitaka can not make people understand the true meaning of Buddha, through the study of its teachings, it can also make people respect the monarch and relatives, eliminate evil and promote good, and cultivate the concept of human relations.Of course, the translation of the Tripitaka is not the whole translation of Buddhist sutras in Emperor Qianlong Period, but it is the most relevant and representative one, and its political and cultural purpose runs through all the translation of Buddhist scriptures.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 06:42, 13 October 2021 (UTC)&lt;br /&gt;
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The above clearly expresses Emperor Qianlong's intentions to tranlate Tripitaka.To sum up, there are no more than three points. Firstly, Tripitaka was already translated in Chinese, Tibetan and Mongolian. But it was never translated in Manchu, which was incompatible with the fact that Manchu was the master of China. Secondly, as Manchu was the offical language, it was nessary to maintain its position and promote its leanring by others. Translating the Buddhist calssic work &amp;quot;Tripitaka&amp;quot; was an important way to achieve this goal. Thirdlly, translating Tripitaka could not enable people to understand its true meaning, but it push people to respect the emperor and parents, promote goodnes and get rid of bad behaviors, and cultivate ethical codes. However, Tripitaka, not the only Buddhist classic work translated in the period of Emperor Qianlong,is the closest translation work and the most representative one. Its political and cultural purpose behind translation runs through all the translations of Buddhist classics.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 10:21, 17 October 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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五、汉书翻译的文化统制意涵。清初统治者对待汉文化的整体态度不尽相同，这一点毋庸置疑。日本学者安部健夫曾将清代中、前期的文化政策分为三个阶段，分别是“偶然华化期”、“积极华化期”和“消极华化期”。其中，太祖、太宗时期的文化政策属于第一个阶段，顺治、康熙二朝属于第二个阶段，雍、乾、嘉、道四朝则属于第三个阶段。[17]5-11&lt;br /&gt;
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Five: The culture dominates the meaning in the process of translating Chinese classics. It is generally admitted that the rulers of the Qing Dynasty have slightly different attitudes toward Han Culture. The cultural policies of the early and middle Qing Dynasty once were divided into three stages by Japanese scholar Anbu Jianfu. They are &amp;quot;Accidental Chinese Transformation&amp;quot;, &amp;quot;Active Chinese Transformation&amp;quot; and &amp;quot;Passive Chinese Transforamtion&amp;quot;. Thereinto, the cultural policy of Qing Taizu and Qing Taizong belongs to the first stage, Shunzhi and Kangxi's the second stage and Yongzheng, Qianlong, Jiaqing and Daoguang's the third stage. {17}5-11 --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 15:53, 15 October 2021 (UTC)&lt;br /&gt;
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Five: The culture dominates the meaning in the process of translating Chinese classics. There is no doubt that the overall attitude of the rulers in the early Qing Dynasty towards Han Culture was different. Japanese scholar Abe Takeo has divided the cultural policies of the Middle and Early Qing Dynasties into three stages, namely, &amp;quot;Accidental Chinese Transformation&amp;quot;, &amp;quot;Positive Chinese Transformation&amp;quot; and &amp;quot;Passive Chinese Transforamtion&amp;quot;. Among them, the cultural policy of Taizu and Taizong in Qing Dynasty belongs to the first stage, Shunzhi and Kangxi's the second stage and Yongzheng, Qianlong, Jiaqing and Daoguang's the third stage.{17}5-11--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 13:27, 17 October 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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（[17]安部健夫.清朝史の構造とその動因[A].安倍健夫.清代史の研究[C].東京：創文社，1981：5-11.）然而，统治者态度由积极转向消极，并不意味着满、汉文化接触的广度与深度由高走低，而只能说明统治者面对满、汉文化地位的此消彼长，所产生的民族文化意识的觉醒。虽然满洲统治者为了维护满洲文化于不坠，提倡“清语骑射”的基本国策，但又不得不进行文化整合，选择以汉文化作为国家的主流价值。&lt;br /&gt;
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（[17]Abe Takeo.The structure of Qing Dynasty history and its causes[A].Abe Takeo.Research on the History of Qing Dynasty[C].Tokyo:Creation Society，1981：5-11.）However, the change of the ruler's attitude from positive to negative does not mean that the breadth and depth of cultural contact between Manchuria and Han has changed from high to low, but only indicates the awakening of the ruler's national cultural consciousness when facing the change of manchuria and Han's cultural status.Although manchurian rulers advocated the basic state policy of ''Chinese riding and shooting'' in order to maintain Manchurian culture, they had to carry out cultural integration and chose Han culture as the mainstream value of the country.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 01:57, 13 October 2021 (UTC)&lt;br /&gt;
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（[17] Anbu Jianfu. The Structure and Formative Agent of Qing Dynasty History[A].Anbu Jianfu. The Research of the History of Qing Dynasty[C].Tokyo：Chuangwen Club,1981：5-11.） However,governor's attitude changing from positive to negative didn't mean that the contact between Manchu culture and Han culture decreased in breadth and depth, but only showed that governor's ethical cultural consciousness awakened in the face of the changing culrural status of Manchu and Han. Although Manchu governor advocated &amp;quot;Manchu language and equestrian archery&amp;quot; as the basic state polic in order to protect Manchu culture from decling, they had to carry on cultural integration in which Han culture was choosed as the mainstream value of the country.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 02:06, 13 October 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正是在这样一种看似矛盾，而又颇显自然的文化态度中，以文化“统制”和文化建设为目的的汉书翻译事业得以进行。事实上，早在太宗时期，由于满人尚居关外，不识汉字，又罔知政体，汉书的翻译可用于“临政规范”，以及国家的治理模式。[4]5325顺治年间，阿什坦译成《大学》、《中庸》等书后，世祖以它们作为倡导礼义教化的工具。&lt;br /&gt;
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It is in such a seemingly contradictionary but quite natural cultural attitude that the translation of Han Shu could be proceeded aiming at cultural &amp;quot;harmonization and regualtion&amp;quot; and cultural development. Actually, as early as Taizong Period, transalation of Han Shu could be used for the &amp;quot;standard form of handling affairs&amp;quot; and also the governance model of the country, because Manchu didn't know Chinses characters or regime as they lived outside of Shanhai Pass. [4]5325 During the reign of Shunzhi, Emporer regarded ''The Great Learning'' and ''The Doctrine of the Mean''translated by A Shitan as the tool to advocate moral tool.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 14:37, 11 October 2021 (UTC)&lt;br /&gt;
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It is exactly in such a seemingly contradictory but also natural attitude towards culture can the translation of Han Book with the purpose of cultural &amp;quot;unification&amp;quot; and cultural construction proceed. In fact, at the period of Taizong, the transalation of Han Book could be used for the &amp;quot;standard form of handling affairs&amp;quot; and also the governance model of the country, because Manchu didn't know Chinses characters or regime as they lived outside of Shanhai Pass. [4]5325 During the Shunzhi period, Emperor regarded ''The Great Learning'' and ''The Doctrine of the Mean'' translated by A'Shitan as the tool to advocate morality.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 10:36, 20 October 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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总之，汉文经、史的译印有助于端正满洲的人心风俗，使满、汉文化互通有无。就连《诗经》中提到的各种花草树木、鸟兽虫鱼等，也对拓展满人见闻，增进满、汉交流颇有助益。[18]222-223（[18]叶高树.《诗经》满文译本比较研究——以《周南》、《召南》为例[J].国立台湾师范大学历史学报，1992（20）：219-234.）&lt;br /&gt;
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In short, the translation and prints of Chinese classics and history can help correct Manchurian's morality and custom, and furthermore strengthen the mutual understanding between Manchu and Han culture. Even the flowers,trees,birds,beasts,insects,fish etc mentioned in the ''Book of Songs'' somewhat have helped expand Manchurian's knowledge and enhance the intercommunication between Manchu and Han.[18]p.222-223. (Ye,Gaoshu. ''The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan.'', Bulletin of Historical Research of National Taiwan Normal University, No.20(1992):p.219-234.)--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 02:38, 13 October 2021 (UTC)&lt;br /&gt;
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In short, the translation and prints of Han classical and historical works can help correct Manchurian’s morality and custom, and furthermore strengthen the mutual understanding between Manchu and Han culture. Even various kinds of flowers, trees, birds, beasts, insects, fish mentioned in the “Book of Songs” somewhat have helped expand Manchurian’s knowledge and enhance the inter communication between Manchu and Han.[18]222-223([18]Ye Gaoshu. “The Comparative Study of the Manchu Translations of Book of Songs—Case Study of Zhounan and Zhaonan.”Journal of the History of National Taiwan Normal University No.20(1992):p.219-234.)--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:58, 13 October 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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诚然，有清一代，并非只有官方组织翻译汉书，私人译书也很盛行。据《世界满文文献目录》可知，清代的私人译书历时悠久，范围广泛，于经、史、子、集皆有涉猎，且翻译成书之后，往往有不同刻本、抄本。仅以小说、戏曲为例，二者的满文译本便多达四十六种。[19]47-53&lt;br /&gt;
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To be sure, it was not only official organizations that translated Chinese books, but private person also liked to do that during Qing Dynasty. According to the Catalogue of Manchu Documents in the World, the private translation of books in the Qing Dynasty has a long history and a wide range, covering a subset of Classic historical. And after being translated into books, they often had different engraved books and copies. Taking novels and operas as examples, there were as many as forty six Manchu versions of them.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 15:29, 12 October 2021 (UTC)Yi Yangfan&lt;br /&gt;
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To be sure, it was not only official organizations that translated Han Shu, but private person also liked to do that during Qing Dynasty.  According to the Catalogue of Manchu Documents in the World, the private translation of books in the Qing Dynasty has a long history and a wide range, covering classical works, historical works, philosophical works, and prose and poetry, the four categories of a traditional Chinese library. And after being translated into books, they often had different engraved books and transcripts. Taking novels and operas as examples, there were as many as forty six Manchu versions of them.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 01:49, 13 October 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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（[19]富力.世界满文文献目录[Z].北京：中国民族古文字研究会，1983.）但官方翻译汉书与私人译书不同，无论在译书的取材上，还是在译书的组织管理上，又或在译书的颁行上，都有其不同于私人译书的特殊考量。即便是《三国志（通俗演义）》这样的通俗文学作品，译成满文后也被赋予了兵法与战略意义。&lt;br /&gt;
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（[19] Fuli. The Catalogue of Manchu Documents in the World [Z]. Beijing: Chinese Association for  Ancient Scripts of National Minorities, 1983.)&lt;br /&gt;
However, official translation of Han Shu was different from private translation. There were special considerations different from private translation, whether in the selection of materials, the organization of translation, or the promulgation of translation. Even popular literary works such as the Three Kingdoms (Popular Romance) had been given military and strategic significance after being translated into Manchu.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 15:13, 12 October 2021 (UTC)&lt;br /&gt;
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Fuli. The Catalogue of Manchu Documents in the World [Z]. Beijing: Chinese Association for  Ancient Scripts of National Minorities, 1983.)&lt;br /&gt;
However,different from private translations of Han Books,the official one was special in the selection of materials, the organization or the promulgation of translation. Even such popular literary works as the ''Three Kingdoms'' (Popular Romance) had been given military and strategic significance after being translated into Manchu script.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 02:52, 13 October 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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显然，以满文遍译汉书，尤其是经、史、子、集等，并不是为了显示满语语文系统的优越性，所谓“精微巧妙，实小学家所未有”，而是为了“表章经学，天下从风”，通过翻译“研究微言，讲求古义”，进行文化沟通。[3]91藉由汉文典籍的翻译，满洲统治者不仅了解了汉族文化，而且在接触与学习中获得了“统制”汉民的重要经验，使满洲政权在性质上逐渐向“中原政权”转化，最终实现治统与道统的合一。而乾隆朝时期，尤其是乾、嘉二朝年间，统治者对于汉籍翻译的成效，也的确颇感自豪。&lt;br /&gt;
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Obviously, the purpose of translating  Han Books into Manchu scripts,especially the confucian classics,historical books,works of pre-Qin period as well as poetry collections ,was not to show the superiority of the Manchu language system,but to&amp;quot;make the study of Confucian classics known and followed by the world&amp;quot;,as was said&amp;quot; other schools can never be as profound and subtle as the Confucianism&amp;quot;, to enable cultural communication by means of&amp;quot;studying the profound and subtle language in search of reasons and moral principles&amp;quot;&lt;br /&gt;
With the help of translation, Manchu rulers could not only understood the Han culture, but also gained important experience in &amp;quot;governing and controlling&amp;quot; the Han people in the process of contact and learning, which gradually transformed the nature of the Manchurian regime into&amp;quot;the regime of the central plains&amp;quot; and realized the unity of governance and Taoism. During the reign of emperor Qianlong, the rulers were indeed proud of the achievement in the translation of Han books.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 13:44, 13 October 2021 (UTC)&lt;br /&gt;
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Obviously, the purpose of translating the books of Han into Manchu scripts,especially the confucian classics, historical books, works of pre-Qin period as well as poetry collections ,was not to show the superiority of the Manchu language system, but to&amp;quot;make the study of Confucian classics known and followed by the world&amp;quot;,as was said&amp;quot; other schools can never be as profound and subtle as the Confucianism&amp;quot;, to enable cultural communication by translating&amp;quot;studying the profound and subtle language in search of reasons and moral principles&amp;quot;&lt;br /&gt;
With the help of translation, Manchu rulers could not only understood the Han culture, but also gained important experience in &amp;quot;governing and controlling&amp;quot; Han people in the process of contacting and learning, which gradually transformed the nature of the Manchurian regime into&amp;quot;the regime of the central plains&amp;quot; and realized the unity of governance of ruling and Taoism. During the reign of Emperor Qianlong, the rulers were indeed proud of the achievement in the translation of Han books.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 14:57, 13 October 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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《钦定八旗通志》中说：列圣以来，表章经学，天下从风，莫不研究微言，讲求古义，尤非前代之所及。故先译《四书》，示初学之津梁。至于《五经》、《易》则略象数之跡 ，示其吉凶；《书》则疏佶屈之词，归于显易；《诗》则曲摹其咏叹，而句外之寄讬可思；《春秋》则细核其异同，而一字之劝惩毕见；《礼记》则名物度数考订必详，精理名言推求必当，尤足破讲家之聚讼。&lt;br /&gt;
Imperially Commisioned &amp;quot;Genealogies of Eight Banners&amp;quot; said: &amp;quot;Since the previous dynasties, ''Six meridians''highly praised, the whole society were indulged and made a study of it. Never before has there been such a study of ancient meanings in any dynasty.&amp;quot; Therefore, The Four Books was translated first as the bridge for the beginners. As for ''The Five Classics'' and ''The Book of Changes'', they slightly speculated about changes in the universe or human life to indicate the good luck and bad luck; ''The Book of History''explained the hard and difficult words and turned them into intelligible content; ''The Book of Songs''imitates the aria but worth thinking about the implications between the lines; while ''Spring and Autumn Annals'' examines its similarities and differences so the advice and punishment can be seen; In ''Book of Rites'', everything's name and information must be detailed and principles and sayings must be appropriate, especially various and different opinion.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:49, 13 October 2021 (UTC)&lt;br /&gt;
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Imperially Commisioned &amp;quot;Genealogies of Eight Banners&amp;quot; said: &amp;quot;Since the previous dynasties, “Six meridians”highly praised, the whole society were indulged and studied it. Never before has there been such a study of ancient meanings in any dynasty.&amp;quot; Therefore, The Four Books was translated first as the bridge for the beginners. As for “The Five Classics”and “The Book of Changes”, they slightly speculated about changes in the universe or human life to indicate the fate; “The Book of History”explained the hard and difficult words in an intelligible way; “The Book of Songs”imitates the aria but worth thinking about the implications between the lines; while ''Spring and Autumn Annals'' examines its similarities and differences so the advice and punishment can totally be seen; In “Book of Rites”, everything's name and other information must be detailed.Besides,principles and sayings must be appropriate, especially various and different opinions.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:46, 13 October 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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盖先儒之诂经，多株守其文，故拘泥而鲜通；此篇之诂经，则疏通其意，故明白而无误。不立笺（jiān）传之名，不用注疏之体，而唇吻轻重之间，自然契删述之微旨，厥有由矣。……其有裨于文教，均为至大。虽尧帝之文章，尼山之删定，又何以加于兹哉。[20]5-6&lt;br /&gt;
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It was said that most of previous confucionists'classical texts stuck to the original words, so the texts were not clear and coherent enough to make it understood:And this classical text was written clearly to convey the meaning which can make readers understand the meaning accurately. The text was not in the name of notes, not in the style of notes, but in a detailed and appropriate way to explain the connotation and theme of the text.So when readers opened their mouth and read it, they can automatically understand the profound meaning which was omitted.It all made sense ......It was of great benefit to culture and education which were the most important aspect in society. Although Emperor Yao wrote the article and Ni Shan revised it, but how can it surpass this article?--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:49, 13 October 2021 (UTC)&lt;br /&gt;
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mostly abide by its text, so it is rigid and fresh--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 07:16, 13 October 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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（[20]（清）铁保等.钦定八旗通志[Z].景印清嘉庆四年刻本.台北：台湾学生书局，1968.）上文提到的《四书》等汉文典籍多为乾隆朝所译，其中《四书》译成于乾隆二十年，《易》（即《周易》）、《诗》（即《诗经》）、《礼记》和《春秋》等分别译成于乾隆三十年、三十三年、四十八年和四十九年。官方在翻译上述书籍的过程中，将经典的章句训诂含扩于译文之内，目的就是为了化解时人对于经义的歧见，统一学术，帮助统治者实现文化“统制”。[3]87&lt;br /&gt;
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（[20]（Qing）Tie Bao et al. Imperial Eight Banners Tongzhi [Z]. Jing Yin Qing Jiaqing four years engraved edition. Taipei: Taiwan students publishing company, 1968.) Above the &amp;quot;four books&amp;quot; and so on Chinese classics translation in the qianlong dynasty, the &amp;quot;Four books&amp;quot; into in qianlong 20 years, &amp;quot;Yi&amp;quot; (i.e. I Ching), &amp;quot;Poem&amp;quot; （i.e. The book of songs), &amp;quot;The rites&amp;quot; and &amp;quot;The spring and autumn&amp;quot; and so on are translated in qianlong 30 years, 33 years, 48 and 49 years. In the process of the translation of the above-mentioned books, the official included the classic chapters and sentences into the translation, in order to resolve the differences of people's opinions on the classics, unify the academic, and help the rulers to realize the cultural &amp;quot;control&amp;quot;.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 00:53, 13 October 2021 (UTC)&lt;br /&gt;
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（[20]（Qing）Tie Bao et al. Imperial Eight Banners Tongzhi [Z]. Jing Yin Qing Jiaqing the fourth year engraved edition. Taipei: Taiwan students publishing company, 1968.) Above the &amp;quot;four books&amp;quot; and so on Chinese classics were mostly translated in Qianlong period, in which the &amp;quot;Four books&amp;quot; were translated in the 20th year ruled by Qianlong, &amp;quot;Yi&amp;quot; (i.e. I Ching), &amp;quot;Poem&amp;quot; （i.e. The book of songs), &amp;quot;The rites&amp;quot; and &amp;quot;The spring and autumn&amp;quot; and so on are respectively translated in the year 30, 33, 48 and 49 under the reign of Qianlong. In the process of the translation of the above-mentioned books, the official included the classic chapters and sentences into the translation in order to resolve the differences of people's opinions on the classics, unify the academic, and help the rulers to realize the cultural &amp;quot;reign&amp;quot;.[3]87--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 01:57, 13 October 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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如康熙四十七年，《清文鉴》编成，此举使满文的“大经大法，咸有依据；一话一言，式循典制。”[7]13康熙五十六年，为整理并规范蒙古语文，圣祖敕令以蒙文翻译《清文鉴》，纂成《清文合蒙古鉴》。然而，逮乾隆三十八年，高宗以“语言文字之传，不能不随方随时，代为变易”为由，纂成《御制增订清文鉴》。&lt;br /&gt;
For example, in the forty-seventh year under the reign of Kangxi during Qing dynasty, the book ''Qing Wen Jian'' was composed, which made &amp;quot;every article and code in Man has its basis, and each sentence and word in Man in accordance with a typical system.&amp;quot;[7]13 In the fifty-sixth year ruled by Kangxi, in order to organize and standardize Mongolian language, the emperor ordered to translate ''Qing Wen Jian'' with Mongolian so that ''Qing Wen Jian With Mongolian'' was composed. However, in the year thirty-eight reined by Qianlong, Gaozong the emperor wrote ''Qing Wen Jian the Official and Revised Edition'' on the excuse that &amp;quot;the transmitting way of language and characters has to be kept changing as time goes by and places change&amp;quot;.&lt;br /&gt;
--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 01:48, 13 October 2021 (UTC)&lt;br /&gt;
For example, in the forty-seventh year under the reign of Kangxi emperor during Qing dynasty, the book ''Qing Wen Jian'' was composed, which made &amp;quot;every article and code in Manchu has its basis, and each sentence and word in Manchu in accordance with a typical system.&amp;quot;[7]13 In the fifty-sixth year ruled by Kangxi emperor, in order to organize and standardize Mongolian language, the emperor ordered to translate ''Qing Wen Jian'' with Mongolian so that ''Qing Wen Jian With Mongolian'' was composed. However, in the year thirty-eight reined by Qianlong, Gaozong the emperor wrote ''Qing Wen Jian the Official and Revised Edition'' on the excuse that &amp;quot;the transmitting way of language and characters has to be kept changing as time goes by and places change&amp;quot;.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:20, 13 October 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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该书以词目分类，以满汉合璧形式呈现，所谓“国书之左，译以汉音”，而“汉书之右，译以国书”，以便“读者因汉文可以通国书，因国书可以通汉文”，使人人共晓，并“昭示来兹，为万万世同文之准”。[21]1-2（[21]（清）傅恒等.御制增订清文鉴[M].台北：台湾商务印书馆，1986.）《御制增订清文鉴》成书后，乾隆帝又以“前书只载国语、汉语，而未及蒙古”为由，仿前例敕撰《满洲蒙古汉字三合切音清文鉴》，并于嗣后相继编成《御制四体清文鉴》和《御制五体清文鉴》。&lt;br /&gt;
The book is categorised by words and presented in a combined Manchu-Chinese format, so that &amp;quot;in this book on the left side of the Manchu language, there is a column with Chinese pronunciation to comment&amp;quot;, and &amp;quot;on the right side of the Chinese language, there is a column translated into Manchu&amp;quot;,so that &amp;quot;readers can see the Chinese to understand the Manchu language, see the Manchu language can understand the Chinese language&amp;quot;, so that all people can understand the two languages, and &amp;quot;to future generations of the world to show that such a writing becomes the table of reference for all ages&amp;quot;. [21]1-2 ([21] (Qing) Fu Heng et al. Yuzhi zengding Qingwen jian [M]. (Taipei: Taiwan Commercial Press, 1986.) After the completion of the ''Yuzhi zengding Qingwen jian'' , Emperor Qianlong, on the grounds that &amp;quot;The first book only recorded Manchu and Chinese, but not Mongolian&amp;quot;, hereby compiled ''Manzhou Menggu Hanzi sanhe qieyin Qingwen jian'', which was subsequently compiled into   ''Manchu Polyglot Dictionary''and ''Pentaglot Dictionary''.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 16:03, 12 October 2021 (UTC)&lt;br /&gt;
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The book is classified by words and presented in a combined Manchu-Chinese form，so that &amp;quot;in this book on the left side of the Manchu language, there is a column with Chinese pronunciation to comment&amp;quot;, and &amp;quot;on the right side of the Chinese language, there is a column translated into Manchu&amp;quot;,so that &amp;quot;readers can see the Chinese characters to understand the Manchu language, see the Manchu language can understand the Chinese language likewise&amp;quot;, so all people can understand the two languages, and &amp;quot;to future generations of the world to show such a writing becomes the table of reference for all ages&amp;quot;. [21]1-2 ([21] (Qing) Fu Heng et al. Yuzhi zengding Qingwen jian [M]. (Taipei: Taiwan Commercial Press, 1986.) After the completion of the ''Yuzhi zengding Qingwen jian'' , Emperor Qianlong, on the grounds that &amp;quot;The first book only recorded Manchu and Chinese, but not Mongolian&amp;quot;, hereby compiled ''Manzhou Menggu Hanzi sanhe qieyin Qingwen jian'', which was subsequently compiled into   ''Manchu Polyglot Dictionary''and ''Pentaglot Dictionary''.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 01:02, 13 October 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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在上述书籍的翻译与编纂过程中，乾隆帝不断赋予其“同文”和“大同”的文化意涵，从不同民族文字皆具备“载道”能力的理念出发，借由翻译和比对的方式，在不同民族文化之间，实现沟通观念，强化统治的目的。结语。满清开国以来，历代君主皆勤于学习汉族历史与文化，以汲取统治经验。&lt;br /&gt;
In the process of translating and compiling the above books, Emperor Qianlong constantly endowed them with the cultural meaning of &amp;quot;Tongwen&amp;quot; and &amp;quot;Datong&amp;quot;. Starting from the idea that different national languages have the ability to &amp;quot;carry Tao&amp;quot;, he realized the purpose of communicating ideas and strengthening rule between different national cultures by means of translation and comparison. Conclusion：Since the founding of the Manchu and Qing Dynasties, monarchs of all dynasties have been diligent in learning the history and culture of the Han nationality in order to learn from the ruling experience.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:43, 12 October 2021 (UTC)&lt;br /&gt;
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In the process of translating and compiling the above books, Emperor Qianlong constantly endowed them with the cultural connotation of &amp;quot;Tongwen&amp;quot; and &amp;quot;Datong&amp;quot;. Starting from the idea that different national languages have the ability to &amp;quot;carry Tao&amp;quot;, he realized the purpose of communicating ideas and strengthening ruling within different national cultures by means of translation and comparison. Conclusion：Since the founding of the Manchu and Qing Dynasties, all previous emperors have been diligent in learning the history and culture of the Han nationality in order to learn the ruling experience from them.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:18, 13 October 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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汉书翻译基于特定的历史情境，和国家的长治久安，将重点放在经、史、子、集等汉族文化精粹及典章制度之上，为统治者探求、调整统治策略与统治理论提供了契机。特别是康、雍、乾三朝年间，民族交往日益频密，民族关系逐渐缓和，民族融合渐趋提高，汉书的翻译与进讲更为诸帝所重。由于统治者皆以德教学术为治国之本，力崇道德教化、为国修政、忠于人君，汉书翻译遂被赋予德治与教化功能。&lt;br /&gt;
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The translation of History of the Han Dynasty, which was based on specific historical circumstance and the lasting political stability of the country, emphasized the decrees and regulations as well as the essence of Han culture such as the history, philosophy and literature of Confucian classics, etc. The translation of History of the Han Dynasty also provided an opportunity for the rulers to explore and adjust governing strategies and theories. Especially during the reign of Emperor Kangxi, Yongzheng and Qianlong, ethnic exchanges became increasingly frequent, ethnic relations gradually eased and ethnic integration much improved. Therefore, the emperors paid more attention to the translation and interpretation of History of the Han Dynasty. The rulers all regarded the moral education as the foundation of governing the country, which highly recommended political improvement of the country and loyalty to the monarch. For this reason, the translation of History of the Han Dynasty was endowed with the function of cultivation and ruling by the morality.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:03, 13 October 2021 (UTC)&lt;br /&gt;
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The translation of History of the Han Dynasty, which was based on specific historical circumstance and the lasting political stability of the country, emphasized the decrees and regulations as well as the essence of Han culture such as the history, philosophy and literature of Confucian classics, etc. The translation of History of the Han Dynasty also provided an opportunities for the rulers to explore and adjust governing strategies and theories. Especially during the reign of Emperor Kangxi, Yongzheng and Qianlong, ethnic exchanges became increasingly frequent; ethnic relations gradually eased; ethnic integration much improved. Therefore, the emperors paid more attention to the translation and interpretation of History of the Han Dynasty. The rulers all regarded the moral education as the foundation of governing the country, which highly recommended political improvement of the country and loyalty to the monarch. For this reason, the translation of History of the Han Dynasty was endowed with the function of cultivation and ruling by the morality.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 10:20, 13 October 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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总之，清初的汉书翻译既非简单的“以夏变夷”，也非简单的“以夷变夏”，而是在翻译中着眼于满、汉之间的交流、沟通与互鉴，政治意涵与文化意涵并存。*基金项目：① 教育部人文社科基金项目“清代中前期翻译政策研究”②湖南省社会科学基金项目“清代中前期翻译政策的具体形态与变化轨迹研究”，项目批准号：20YBA131；③ 湖南省教育厅重点项目“清代中前期翻译政策研究”，项目批准号：20A222。&lt;br /&gt;
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In summary, the translation of The History of the Han Dynasty is neither simply to use the Central Plains Culture to influence the culture of the tribes outside it, nor to change it by cultures of other tribes. The translation highlights the communication and mutual learning between Man minority and Han nationality. It also emphasizes the coexistence of political implications and culture implications. Fundation Projects:① Foundation Projects of the Ministry of Education of China, Humanities and Social Sciences &amp;quot; The Research on Translation Policy During Early and Middle Qing Dynasty&amp;quot; ② Research Foundation of Social Sciences of Hunan Province, China&amp;quot; The Translation Policy's Specific Form and Trajectory of Change During Early and Middle Qing Dynasty&amp;quot; , Grant No. 20YBA131; ③Research Foundation of Education Bureau of Human Province, China&amp;quot;, Grant No.20A222.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:29, 13 October 2021 (UTC)&lt;br /&gt;
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In summary, the translation of Han History is neither simply to use the Central Plains Culture to influence the culture of the tribes outside it, nor to change it by cultures of other tribes. It highlights the communication and the mutual learning between Man minority and Han nationality and emphasizes the coexistence of political implications and culture implications in its translation. Fundation Projects:① Foundation Projects of the Ministry of Education of China, Humanities and Social Sciences &amp;quot; The Research on Translation Policy During Early and Middle Qing Dynasty&amp;quot; ② Research Foundation of Social Sciences of Hunan Province, China&amp;quot; The Translation Policy's Specific Form and Trajectory of Change During Early and Middle Qing Dynasty&amp;quot; , Grant No. 20YBA131; ③Research Foundation of Education Bureau of Human Province, China&amp;quot;, Grant No.20A222.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:53, 13 October 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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清初的旗学教育与翻译人才培养：教材、课业与考课&lt;br /&gt;
——基于绥远城官学的考察*&lt;br /&gt;
摘要：旗学之兴系清初统治者重教政策的延续与发展。太祖和太宗年间，虽然旗学尚未创设，但文教与翻译之风渐行，以讲解汉籍译本作为教育旗人的手段由来已久，为嗣后设立旗学，开展旗学教育创造了条件。&lt;br /&gt;
The Education of Banner studies and the training of translation talents in the early Qing Dynasty: textbooks, courses and examinations-based on the investigation of Suiyuan authority.&lt;br /&gt;
Abstract: The prosperity of Banner studies reflects the continuation and development of the educational policy that the rulers attached importance to in the early Qing dynasty.&lt;br /&gt;
During the reign of Emperor Taegu and Emperor Taejon, although the Banner studies had not yet been established, the cultural education and translation became popular. It has been a long time that the translation of Chinese books was used as a means to educate flag-bearers, which created conditions for the establishment of Banner studies’ education.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 13 October 2021 (UTC)&lt;br /&gt;
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The Banner Education and the Cultivation of Translation Specialist in the Early Qing Dynasty: Teaching Materials, Homework and Examination -- Based on the Investigation of suiyuan City Official Schools&lt;br /&gt;
Abstract: The rise of the banner schools was the continuation and development of the policy of emphasizing education of rulers in the early Qing Dynasty. During the reign of Emperor Taizu and Emperor Taizong, although the banner school was not yet established, culture, education and translation gradually spread, and interpreting the translation of Chinese books as a means of teaching the banner people had a long history, which created conditions for the establishment of banner school and the development of banner education.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:46, 13 October 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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自顺治朝设立国子监八旗官学，至康熙朝增设专门教育机构，雍正朝普及八旗教育，以及乾隆朝以后八旗教育由盛转衰，清初的旗学教育不仅提高了旗人的文化素质和官员处理政务的能力，而且提升了旗人的语言能力，培养了大量翻译专才。从一开始，旗学教育便明确地指向了翻译，不仅严格要求翻译教习的选拔与任用，而且也对翻译教材的使用、翻译课业的形式、翻译考课的等次，以及教习与学生的期满考核等，制定了具体章程。&lt;br /&gt;
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From the establishment of the Eight Banners official school of the Imperial Academy in the reign of Shunzhi to the establishment of special educational institutions in the reign of Kangxi, the popularization of the Eight Banners Education in the reign of Yongzheng, and the decline of the Eight Banners Education after the the reign of Qianlong, in the early Qing Dynasty, the Banners' education not only improved the cultural quality of the Banner people and the ability of officials to deal with government affairs, but also enhanced the language ability of the Banner people and cultivated a large number of translation specialists. From the very beginning, the purpose of the Banners' education is for translation, which not only strictly requires the selection and appointment of translation teachers, but also formulates specific regulations on the use of translation teaching textbooks, the form of translation homework, the order of translation examination, as well as the expiration assessment of teachers and students.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 15:13, 16 October 2021 (UTC)&lt;br /&gt;
From the Shunzhi Dynasty to the establishment of the Eight Banners official school to the establishment of special educational institutions of the Kangxi dynasty, the popularization of the Eight Banners education in the Yongzheng dynasty to the decline of the Baqi education after the Qianlong dynasty, the ability of government affairs has also improved the language ability of people, and cultivated a large number of translation professionals. From the very beginning, The education of &amp;quot;banners&amp;quot; studies has clearly pointed to translation. It not only strictly requires the selection and appointment of translation teaching, but also the use of translation materials, the form of translation tasks, the order of translation exams, and the duration of teaching and students. Full assessment, formulated specific regulations.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 12:58, 16 October 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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总之，旗学教育既维护了满洲特色，又增进了民族交流，为解决国家治理对于翻译人才的需求做出了重要贡献。&lt;br /&gt;
关键词：旗学  翻译教育  教材  课业与考课  绥远城官学&lt;br /&gt;
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清代的旗学教育始于顺治朝，但追根溯源与太祖朝以来的语言创制与教育密不可分。后金政权建立之前，女真族没有自己的文字，民间交往和官方往来只能通过蒙古语及其翻译进行。&lt;br /&gt;
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In short, the education of &amp;quot;qi&amp;quot; studies not only maintains Manchurian characteristics, but also enhances national exchanges, and has made important contributions to solve the needs of national governance for translators.&lt;br /&gt;
Key words: &amp;quot;qi&amp;quot; Studies, Translation Education, Textbooks, Assignments and Tests, Suiyuan City Official School&lt;br /&gt;
The education of &amp;quot;qi&amp;quot; studies in the Qing Dynasty began in the Shunzhi Dynasty, but the tracing of its roots is inseparable from the language creation and education since the Taizu Dynasty. Before the establishment of the Houjin regime, the Jurchens did not have their own scripts, and non-governmental and official exchanges could only be carried out through Mongolian language and its translation.&lt;br /&gt;
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In a word, the Banners education not only maintains the characteristics of Manchuria, but also promotes the cultural exchanges between nations, making important contributions to solving the needs of national governance for translation talents. &lt;br /&gt;
Key words: the Banner education, translation educational, textbook,coursework and examination,Suiyuan City official School&lt;br /&gt;
The education of  the Banners education in Qing Dynasty began in shunzhi Dynasty, but its origin is closely related to language creation and education since Nurhachi period. Before the establishment of the post-Jin regime, the Nuzhen people did not have their own script, and the folk and official communication could only be carried out through the Mongolian language and its translation.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 10:39, 16 October 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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太祖创建后金政权伊始，便授意“巴克什”额尔德尼、噶盖等创建“无圈点满文”（老满文）。老满文的创建既方便了部民交流和公文书写，也使得政事记载和汉书翻译变得容易。在翻译的汉文典籍帮助下，如《论语》、《孟子》、《史记》和《资治通鉴》等，太祖得以学习汉族的思想精粹和政治观念。&lt;br /&gt;
After the first emperor of the Qing Dynasty founded the jin regime, he instructed Baksi(a title for scholars in the Qing Dynasty) Erdeni, Gaide and others to create the Manchu without circle and point (old Manchu). The establishment of old Manchu not only facilitated the communication between tribe men and the writing of official documents, but also made it easy to record political affairs and translate Han books. In the process of translating Chinese classics, such as ''The Analects of Confucius'', ''Mencius'', ''Records of the Historia''n and ''History as a Mirror'', he was able to learn the ideological essence and political ideas of the Han people.&lt;br /&gt;
--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:29, 12 October 2021 (UTC)&lt;br /&gt;
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After the first emperor of the Qing Dynasty founded the Post-Jin regime, he instructed Baksi(a title for scholars in the Qing Dynasty) Erdeni, Gaide and others to create the Manchu without circle and point (old Manchu). The establishment of old Manchu not only facilitated the communication between tribe men and the writing of official documents, but also made it easy to record political affairs and translate Han Shu. With the help of translating Chinese classics, such as ''The Analects of Confucius'', ''The Works of Mencius'', ''Historical records'',and ''History as a Mirror'', he was able to learn the ideological essence and political ideas of the Han nationality.&lt;br /&gt;
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--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 08:48, 13 October 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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与此同时，太祖又令“颁经书以宏文教”，“尚骑射翻译以重国文”，通过“国文”、“骑射”巩固所谓民族之“本”，并通过“文教”、“翻译”提升旗人素质。[ 张廷玉等奉敕撰：《皇朝文献通考》，上海：鸿宝书局，1902年，第5435页。]语言创制的完成不仅使得旗人教育成为现实，也使得统治者试图在翻译中汲取汉族经验成为可能。&lt;br /&gt;
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At the same time, Taizu ordered to &amp;quot;publish scriptures to carry forward cultural education&amp;quot;, &amp;quot;advocate riding and shooting translation to attach importance to national language&amp;quot;, consolidate the so-called &amp;quot;foundation&amp;quot; of the nation through &amp;quot;national language&amp;quot; and &amp;quot;riding and shooting&amp;quot;and improve the quality of Manchurian through &amp;quot;cultural education&amp;quot; and &amp;quot;translation&amp;quot;. [Written by Zhang Tingyu and others who received the orders of the emperor: a general examination of imperial documents, Shanghai: Hongbao publishing house, 1902, P. 5435.] the completion of language creation not only made the education of the Manchurian a reality, but also made it possible for the rulers to learn from the Han nationality in translation.&lt;br /&gt;
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At the same time, Taizu ordered to &amp;quot;publish scriptures to carry forward cultural education&amp;quot;, &amp;quot;advocate riding and shooting translation to attach importance to national literature&amp;quot;, consolidate the so-called &amp;quot;foundation&amp;quot; of the nation through &amp;quot;national&lt;br /&gt;
literature＂ and &amp;quot;riding and shooting&amp;quot;, and improve the quality of Manchurian through &amp;quot;cultural education&amp;quot; and &amp;quot;translation&amp;quot;. [Written by Zhang Tingyu and others who received the orders of the emperor: a general examination of imperial documents, Shanghai: Hongbao publishing house, 1902, P. 5435.] the completion of language creation not only made the education of the Manchurian a reality, but also made it possible for the rulers to learn from the Han nationality in translation.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 15:14, 16 October 2021 (UTC)--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 15:15, 16 October 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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《满文老档》中说，太祖曾命博布黑、萨哈廉等八人为八旗师傅，赐其“巴克什”称号，令其精心教习八旗子弟，要求“教之通晓者赏之”，而“弟子不勤学不通晓书文者罪之”，开启旗人教育之先例。[ 中国第一历史档案馆译注：《满文老档》，北京：中华书局，1990年，第1196-1197页。]太宗期间，旗人的学习和教育亦受重视。&lt;br /&gt;
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According to the 《Manchu script》, the emperor Taizu once appointed eight people, including Bo buhei and sahalian, as masters of the eight banners, and gave them the title of &amp;quot;Baksh&amp;quot;, so that they could carefully teach the children of the eight banners, and asked that&amp;quot;&amp;quot;If teach the disciples to understand, they will be rewarded&amp;quot;, while &amp;quot;If the disciples don't study hard and don't understand calligraphy, they will be punished&amp;quot; which opening a precedent for Manchu's education. [translated note of China's first historical archives: old 《Manchu script》, Beijing: Zhonghua Book Company, 1990, pp. 1196-1197.] during the reign of Emperor Taizong, the study and education of Manchu were also valued.&lt;br /&gt;
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According to Manchu Script, the Emperor Taizu( the first emperor of the Qing Dynasty) once appointed 8 person as teachers of the Eight Banners and rewarded them with the title of Baksh, including Bobuhei, Sahalian. The teachers were required to teach the offspring of the eight-banners. If they can understand, they will be rewarded while if not, they will be punished, which stands a precedent for Manchu's education.[Quoted from China's first historical archives:《Manchu script》, Beijing: Zhonghua Book Company, 1990, pp. 1196-1197.] During the reign of Emperor Taizong, the study and education of Manchu were also valued.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:33, 13 October 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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	<entry>
		<id>https://bou.de/u/index.php?title=20210929_homework&amp;diff=135000</id>
		<title>20210929 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210929_homework&amp;diff=135000"/>
		<updated>2021-12-30T14:09:16Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 翻译学	202120081499	李双	女 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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[[20210929_homework|homework of session 1 for session 2 Sep 29]]&lt;br /&gt;
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IN PREPARATION&lt;br /&gt;
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专业班级名称	学号	 姓  名	性别&lt;br /&gt;
==语言智能与跨文化传播研究	202120081535	徐敏赟	男==&lt;br /&gt;
This is the homework of 徐敏赟.--[[User:Root|Root]] ([[User talk:Root|talk]]) 12:41, 26 September 2021 (UTC)&lt;br /&gt;
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清初时期的汉籍（书）翻译及其文化沟通意涵&lt;br /&gt;
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摘要：清初之际，统治者虽以武力立国，但社会的主导意识形态尚未形成，国家的“治统”与“道统”尚未确立。为了匡扶社稷，教化臣民，探求君主治术，建构符合国家需求的集体价值观，统治者积极组织汉书翻译，促进文化交流，增进民族和解。&lt;br /&gt;
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The Translation of Chinese Books in the Early Qing Dynasty and its Cultural Communication Implications&lt;br /&gt;
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Abstract: At the beginning of the Qing Dynasty, the ruler established the country by force, but the dominant social  ideology has not yet been formed. Besides, the country's &amp;quot;ruling&amp;quot; and &amp;quot;moral  orthodox&amp;quot; have not yet been established either. In order to help the community, educate the people, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Chinese books actively, which helped promote cultural exchanges and enhance national reconciliation.&lt;br /&gt;
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The Translation of the Han Classics in Early Qing Dynasty and its Implications for Cultural Communication&lt;br /&gt;
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Abstract: At the beginning of Qing Dynasty, the ruler established the country by force, but the dominant social  ideology has not yet been formed. Besides, the country's &amp;quot;governance&amp;quot; and &amp;quot;moral  orthodoxy&amp;quot; have not yet been established neither. In order to help the community, educate the people, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Chinese books actively, which helped promote cultural exchanges and enhance national reconciliation.--[[User:Root|Root]] ([[User talk:Root|talk]]) 12:44, 29 September 2021 (UTC)&lt;br /&gt;
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The Translation of the Han Classics in Early Qing Dynasty and its Implications for Cultural Communication&lt;br /&gt;
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Abstract: At the beginning of the Qing Dynasty, the ruler established the country by force, but the dominant social ideology has not yet been formed. Besides, the country's &amp;quot;governance&amp;quot; and &amp;quot;moral  orthodox&amp;quot; have not yet been established either. In order to rectify and sustain the society, educate the subjects, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Han Classics actively, which helped promote cultural exchanges and enhance national reconciliation.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:31, 8 October 2021 (UTC)&lt;br /&gt;
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==语言智能与跨文化传播研究	202120081536	颜静	女==&lt;br /&gt;
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作为清初文化事业的重要组成部分，汉书翻译有着明确的选择标准，实用主义色彩浓厚，主要关注汉族的文治教化与典章制度，将翻译与政要相关联，反对浮华藻饰的翻译。组织上，汉书翻译以官方为主，以民间为辅，译书者既有兼通满、汉双语之旗人，又有八旗科举考试之及第者，这些人既是文化交流的管理者，又是实践者，代表了统治阶级意欲沟通满汉的主观愿望。成效上，汉书翻译不仅促进了新生政权的制度建设，而且为统治者建构政权合法性做出了贡献。&lt;br /&gt;
As an important part of cutural undertakings in early Qing dynasty, the translation of Han Shu had clear selection criteria and strong pragmatism. It focused on cultural education and institutions of Han nationality, associated the translation with politics and opposed flashly one. Organizationally,Han Shu was translated mainly by officials, and then public people. The translators contained not only the Eight Banners' People who mastered both Manchu and Chinese language, but also those who passed the Eight Banners imperial examination. These people were administrators of cultural exchanges, and also practicers, representing that the ruling class was willing to communicate the Manchu and Han people. In effect, the translating of Han Shu promoted the institutional construction of new regime, and also contributed to the rulers for constructing the regime legitimacy.&lt;br /&gt;
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As an important part of cutural undertakings in early Qing dynasty, the translation of Han Shu had clear selection criteria and strong pragmatism. It (mainly) focused on cultural education and institutions of Han nationality, associated the translation with politics and opposed flashly one(embellishments). Organizationally,Han Shu was translated mainly by officials, and then (by) public people. The translators contained not only the Eight Banners' People who mastered both Manchu and Chinese language, but also those who passed the Eight Banners imperial examination. These people were administrators of cultural exchanges, and also practicers, representing that the ruling class was willing to (intended to) communicate the Manchu and Han people. In effect(As a result), the translating of Han Shu promoted the institutional construction of new regime, and also contributed to the rulers for constructing the regime legitimacy.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:06, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081484	杜莉娜	女==&lt;br /&gt;
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导论：凡国家之建立，必有立国精神和主导意识形态，以及相应之文化政策。&lt;br /&gt;
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早在天聪年间，清太宗便为新政权提出文武并用的战略构想，既强调以武功勘祸乱，又主张以文教佐太平，提出了文化统制与文化建设的独到见解。顺治十年，世祖章皇帝订定崇儒重道之政策，并以此为基础构建了兴文教、崇经术的治国理念。&lt;br /&gt;
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Introduction: The establishment of any countries must need the national spirit ,dominant ideology and  appropriate cultural policies.&lt;br /&gt;
As early as the year of Tiancong, Hong Taiji put forward the strategy of combining education and force for the new regime. He emphasized to calm down the chaos by force and to keep the peace by civilian. And he came up with unique insights into cultural unification and cultural development as well. During the first decade of Shunzhi, the emperor made the policies of respecting Confucianism and Taoism, and from this the concepts of governing like prospering education and worshipping scriptures were built.&lt;br /&gt;
--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 16:07, 28 September 2021 (UTC)&lt;br /&gt;
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1、“文武并用”应该更侧重于“文化”，译为culture；&lt;br /&gt;
2、“以文教佐太平”中的文教可译为cultural education；&lt;br /&gt;
3、“and from this the concepts of governing like prospering education and worshipping scriptures were built.”此句可用定从，which served as a basis of …&lt;br /&gt;
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:25, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081490	胡舒情	女==&lt;br /&gt;
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自此以后，虽然清代历朝统治者在关注满、汉文化交流时，不免对汉人进行打压，但也同时对汉族文化进行宣扬与推广。&lt;br /&gt;
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清初统治者在构建“治统”与“道统”的过程中，围绕“崇儒重道”，衍生出众多文化政策实举，如科举取士、博学鸿词等，而汉籍经史的翻译与编纂也是其中重要内容。汉籍翻译是清代文化事业的重要组成部分，是清代民族关系与文化政策的重要载体，它和满清政权的其它文化活动一样，在功能上相互关联，彼此补充，为促进民族之间的相互了解，维护王朝体系的稳定发展，做出了重要贡献。&lt;br /&gt;
Since then, although all the dominators of Qing dynasty would squash the Han people when focusing on cultural exchange between Manchu and Han, they also propagated and promoted the Han culture at the same time. The dominators of early Qing dynasty implemented numerous cultural policies around the idea of “respecting and emphasizing Confucianism” during the progress of constructing Monarchism and statesmanship, which included imperial examinations, erudite and an important part - compilation and translation of Han classics and history. Its translation formed Qing’s cultural undertakings as necessary parts and served as a carrier of Qing’s ethnic relations and cultural policies. It was the same as other cultural activities of Qing dynasty. They related to and complemented each other, which made a contribution to promoting mutual understanding among peoples and maintaining the stable development of the dynastic system.&lt;br /&gt;
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Since then when it comes to Man and Han culture communication, all the dominants of Qing dynasty would freeze Han people but also promoted their culture at the same time.&lt;br /&gt;
During the process of constructing Monarchism and statesmanship, the dominators of early Qing dynasty implemented numerous cultural policies around the idea of “respecting and emphasizing Confucianism”,which included imperial examinations, erudite etc. and also compilation and translation of Han classics and history as an important content. Translating Han classic is an important part of Qing culture and the critical carrier of its ethnic relationship and cultural policies. Like other cultural activities it related to each other functionally and made great contributions to ethnic communication and the solid development of Qing dynasty.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:18, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081491	黄锦云	女==&lt;br /&gt;
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作为汉籍翻译的管理者和实践者，译者们承担了沟通满、汉文化的历史使命，其所翻译的汉族书籍不仅有效增进了旗人对于汉文化的了解，而且为新生政权进行制度建设，以及合法性的建构发挥了历史性作用。&lt;br /&gt;
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一 满洲前身时期的汉籍翻译&lt;br /&gt;
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满洲的前身系女真，语言文字上属阿尔泰语系。&lt;br /&gt;
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As the manager and practicer of translating Han's books, translators take charge of the historial mission to combine Manchu cultrue and Han cultrue.  Their translations not only enhance the Bannermen to know Han cultrue, but also play a historical role in forming a new regime and conlidating its validity.--Translation of Han's books before Manchu period&lt;br /&gt;
Manchurians originates from Nvzhen race, and their language and character belongs to Altaic languages.&lt;br /&gt;
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As managers and practitioners of translation of Han's books, the translators undertake the historical mission of cultural communication between the Manchu nationality and the Han nationality. Their translations of Han's books not only efficiently improve the Manchu's understanding of Han culture, but also play a historical role in system construction for new regime and legal construction. &lt;br /&gt;
-- Translation of Han's books before the Manchu period&lt;br /&gt;
Manchurians originate from Nvzhen race, and their language belongs to Altaic language.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:11, 9 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081495	邝艳丽	女==&lt;br /&gt;
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满族和历史上的女真族一样，原本没有自己的语言，记事时需要借用其他民族文字。《金史》中说：“初无文字，国势日强，与邻国交好，迺用契丹字。”[ 杨家骆：《金史》，台北：鼎文书局，1985年，第1684页。] 金朝立国后，初期的内、外公文几乎都用契丹文书写，金太祖本人也擅长契丹语。&lt;br /&gt;
As Jurchen in the history, the Manchu nationality did not have its own language, and they needed to use other national characters when making a memorandum. &amp;quot;The Jin dynasty did not have their own characters, but with its increasing development and its need to deal with the relation with neighbouring country, then used Khitan characters&amp;quot; said in ''The History of Jin Dynasty''[Yang Jialuo: ''The History of Jin Dynasty'',Taipei: Dingwen Publishing House, 1985, p.16884] After Jin Dynasty was established, the official documents inside and outside the court were nearly written with Khitan characters, even the Emperor Taizu of Jin Dynasty was skilled in using Khitan language.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Li Aixuan|talk]])09:41, 29 September 2021 (UTC)&lt;br /&gt;
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As Jurchen in the history, the Manchu nationality did not have its own language. Therefore, keeping a record of events depended on the characters of other nation. Said in The History of Jin Dynasty, &amp;quot;the Jin dynasty did not have their own characters, but with its increasing development and its need to deal with the relation with neighbouring country, then used Khitan characters&amp;quot;. [Yang Jialuo: The History of Jin Dynasty,Taipei: Dingwen Publishing House, 1985, p.16884] After the establishment of Jin Dynasty, the official documents at home and abroad were nearly written in  Khitan characters, even the Emperor Taizu of Jin was skilled in using Khitan characters.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:34, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081496	李爱璇	女==&lt;br /&gt;
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然而，契丹语与金人女真语差距较大，因而金太祖命完颜希尹、叶鲁依据汉人楷字，并参照契丹字制度，创制适合本族的语言文字“女直文”。天辅（金太祖年号）三年，女直文依诏令颁行，称“女直大字”。二十年后，即1138年，金熙宗完颜亶又命人参照契丹字，创制并颁布另一种女直文字，即“女直小字”。&lt;br /&gt;
However, there was a huge gap between the Khitan language and the Jurchen language. Therefore, the Emperor Taizu of Jin ordered Wanyan Xiyin and Ye Lu to create a language suitable for their own people, Jurchen script, based on the Han regular script and referring to the Khitan script system. In the third year of the period of Tianfu (the reign title of Emperor Taizu of Jin), according to the edict, the Jurchen script was enacted as &amp;quot;Jurchen Large Script&amp;quot;. In 1138, twenty years later, Wanyan Dan, the Emperor of Xizong, ordered someone to create and enact another kind of Jurchen script, namely &amp;quot;Jurchen Little Script&amp;quot;, referring to the Khitan script system.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:15, 29 September 2021 (UTC)&lt;br /&gt;
However, there was a big gap between Khitan language and Jin Nuzhen language. Therefore, Jin Taizu ordered Wanyan Xiyin and Ye Lu to create a language suitable for their own nationality &amp;quot;Jurchen script&amp;quot;, according to the regular script of Han people and with reference to the Khitan character system. In the third year of Tianfu (the year of emperor Taizu of Jin Dynasty), Jurchen script was issued in accordance with the imperial edict, known as &amp;quot;Jurchen Large Script&amp;quot;. Twenty years later, in 1138, Jin Xizong,  Wanyan Dan ordered people to create and promulgate another Jurchen script, namely “Jurchen Little Script&amp;quot;, according to the Khitan character.— Li Xichang&lt;br /&gt;
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==英语语言文学（语言学）	202120081502	李习长	男==&lt;br /&gt;
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金世宗继位后，在推动女直文字的使用上，力度更大，举措更丰。如大定（金世宗年号）四年，金世宗令翰林侍讲学士徒单子温等用女直大、小字，翻译经书。女直文字的创制，对金朝翻译汉书影响巨大，而汉书翻译又影响了金朝的政治制度与国家治理。&lt;br /&gt;
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After Jin Shizong succeeded to the throne, he made greater efforts and took more measures to promote the use of nvzhi characters. For example, in the fourth year of Dading (the year of Jin Shizong), Jin Shizong ordered the Imperial College to teach the bachelor's Apprentice Shan Ziwen to translate scriptures in large and small characters. The creation of nvzhi characters had a great impact on the translation of Chinese books in the Jin Dynasty, which in turn affected the political system and national governance of the Jin Dynasty.&lt;br /&gt;
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After Jin Shizong succeeded to the throne, he made greater efforts and took more measures to promote the use of nvzhi characters. For example, in the fourth year of Dading (the year of the region of emperor Jin Shizong), he ordered his disciple Shan Ziwen and other Shijiang academicians of Hanlin to translate Confucian Classics in Jurchen large and small scripts. the creation of Jurchen script had a great impact on the translation of Chinese books in the Jin Dynasty, and that, in turn, the Chinese books  affected the political system and national governance of the Jin Dynasty.—[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 03:39, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081519	邱婷婷	女==&lt;br /&gt;
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如大定五年，金世宗命徒单镒翻译《贞观政要》和《白氏策林》等书，次年徒单子温将译本进呈皇帝。大定七年，《史记》和《西汉书》等翻译成书，金世宗敕令刊刻颁行。大定十五年，金世宗再令翻译各部经书，由温迪罕缔达（著作佐郎）、宗璧（编修官）、阿鲁（尚书省译史）、杨克忠（史部令史）等负责对译本进行注解。&lt;br /&gt;
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For example, in the fifth year of Dading (the year of the region of emperor Jin Shizong), the emperor ordered his disciple Shan Yi to translate The Political Program of Zhen Guan and Bai Shi Ce Lin, etc. Then emperor Shizong received the translations submitted by another disciple named Shan Ziwen in the next year. In the seventh year of Dading, the Records of  the Grand Historian and the book of the Western Han Dynasty were translated into books, which were printed and issued by the royal decree of emperor Shizong. What’s more, he released an order again translating several Confucian classics which were annotated by Wendihan Dida （assistant of Zhu Zuolang）， Zong Bi（ BianxiuOfficer), A Lu( translator of history of Department of State Affairs ), Yang Kezhong( Lingshi of the Ministry of Official Personnel Affairs ) etc.&lt;br /&gt;
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Annotation:&lt;br /&gt;
1.Zhu Zuolang: A person whose responsibility is to compile historical works.&lt;br /&gt;
2.Bianxiu: The official name, first placed in the Song Dynasty, is mainly responsible for the revision and compilation of documents.&lt;br /&gt;
3.Lingshi: Official name; the general name of petty officials in the government since the song and Yuan Dynasties.—[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 16:58, 28 September 2021 (UTC)&lt;br /&gt;
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For example, in the fifth year of Dading (the year of the region of emperor Jin Shizong), the emperor ordered his disciple Shan Yi to translate ''The Political Program of Zhen Guan'' and ''Bai Shi Ce Lin'', etc. Then emperor Shizong received the translations submitted by another disciple named Shan Ziwen in the next year. One year later,''the Records of  the Grand Historian'' and ''the book of the Western Han Dynasty'' were translated into books, which were printed and issued under the royal decree of emperor Shizong. What’s more, he released an order again translating various kinds of Confucian classics, and put Wendihan Dida （assistant of Zhu Zuolang）， Zong Bi（ BianxiuOfficer), A Lu( translator of history of Department of State Affairs ), Yang Kezhong( Lingshi of the Ministry of Official Personnel Affairs ) etc.in chagrge of the annotation of the translations of these books.&lt;br /&gt;
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Annotation:&lt;br /&gt;
1.Zhu Zuolang: A person whose responsibility is to compile historical works.&lt;br /&gt;
2.Bianxiu: The official name, first placed in the Song Dynasty, is mainly responsible for the revision and compilation of documents.&lt;br /&gt;
3.Lingshi: Official name; the general name of petty officials in the government since the song and Yuan Dynasties.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:00, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081520	饶金盈	女==&lt;br /&gt;
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金世宗在位期间，朝廷设立译经所，专司汉文经史的翻译。期间，所译汉书除上述几种之外，另有《易》、《书》、《论语》、《老子》、《孟子》、《扬子》、《文中子》、《刘子》以及《新唐书》等。之所以翻译这些书籍，是因为金世宗希望女直人了解汉人的仁义道德，以利于治国安邦。&lt;br /&gt;
During the reign of Wan Yanyong, the fifth emperor of the Jin Dynasty, the imperial court set up a sutra translation office to specialize in the translation of scriptures and historical materials written in classical Chinese. Meantime, in addition to the above-mentioned Chinese books, there were also ''Yi'', ''Shu'', ''the Analects of Confucius'', ''the Laozi'', ''the Mencius'', ''the Yangzi'', ''the Wenzhongzi'', ''the Liuzi'' and ''the New Book of Tang Dynasty''. The reason why these books were translated was that Wan Yanyong hoped that the Jurchen people would get some knowledge of the humanity, justice, and morality of Han people by reading these books, so as to develop a prosperous and stable country.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:05, 28 September 2021 (UTC)&lt;br /&gt;
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During the reign of Emperor Jin Shizong,the imperial court set up a classics translation office concentrating on the translation of Chinese classics. During this period,apart from translating the above-mentioned Chinese classics, they also translated &amp;quot; Yi&amp;quot;, &amp;quot;Shu&amp;quot;, &amp;quot;the Analects of Confucius&amp;quot;, &amp;quot;Laozi&amp;quot;, &amp;quot;Mencius&amp;quot;, &amp;quot;Yangzi&amp;quot;, &amp;quot;Wenzhongzi&amp;quot;, &amp;quot;Liuzi&amp;quot; and &amp;quot;New Book of Tang&amp;quot;, etc. The reason why Jin Shizong chose these classics was that he hoped that Nuzhi people could know the virtue and morality of Chinese by reading these classics. And then he could rule the nation better and build a stable society. -- Yang Aijiang (talk) 21.57. 11 October 2021&lt;br /&gt;
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==英语语言文学（语言学）	202120081541	杨爱江	女==&lt;br /&gt;
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然而，当时的女直字与汉字不能直接对译，中间需要经过转译为契丹字。为解决这一问题，金章宗在位期间，诏设弘文院，命人译写儒家经典并讲解。旋即，又废止契丹字，要求嗣后汉文典籍直接译为女直字，以省去须经契丹字转译的中间环节。&lt;br /&gt;
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However, it was not feasible to translate Nvzhi characters into Chinese characters at that time. And it needed to be translated into Khitan characters first. During the reign of Emperor Jin Zhangzong, he set up Hongwen Academy and commanded his ministers to translate and explain Confucian classics in order to figure out the language problem. Besides, Jin Zhangzong abolished its use of Khitan characters and demanded that the Chinese classics should be translated in Nvzhi characters directly, omitting taking advantage of the translation of Khitan characters as a bridge.&lt;br /&gt;
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However,  Nvzhi characters could not be directly translated into Chinese  without being rendered into Khitan ones first. During the reign of Emperor Jin Zhangzong, he set up Hongwen Academy and commanded his ministers to translate and explain Confucian classics in order to figure out the language problem. Soon after, Jin Zhangzong abolished the use of Khitan characters and demanded that the Chinese classics should be translated into Nvzhi characters directly, avoiding the intermediate step of using Khitan characters.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 13:37, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081547	殷美达	女==&lt;br /&gt;
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金朝政权覆灭之后，虽然留居东北故地的少数女直上层人士尚能娴习女直文，但女直字作为一种语言逐渐失传。明朝政府设置“四夷馆”后，又延人专习女直字，以应付中央与地方政府，或中央与藩属地之间的通译需要。虽然如此，女直语的凋落已成定势。&lt;br /&gt;
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二 太祖时期汉籍（书）翻译之“始”&lt;br /&gt;
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After the collapse of Jin Dynasty, a small number of upper class Nuzhen people who still lived in northeastern China were proficient in Nuzhen language, but its words were being lost gradually. The Ming Dynasty, when setting up &amp;quot;Academy of Eastern Minorities &amp;quot;, hired particular people to study Nuzhen language to meet the needs of communication and translation between the central and local governments or its dependent territories. Nevertheless, the decline of Nuzhen language had become a foregone conclusion. &lt;br /&gt;
Second, the initial translation of Chinese books during the reign of the first emperor of Qing Dynasty.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:46, 30 December 2021 (UTC)&lt;br /&gt;
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After the collapse of the Jin Dynasty, although a small number of Nuzhen upper class people living in Northeast China were very proficient in Nuzhen language, Nuzhen characters have been gradually lost. Having set up the Si-yi-guan, the Ming Dynasty hired people to specially learn Nuzhen characters to meet the needs of translation between the central government and local governments or its affiliated places. Nevertheless, the decline of Nuzhen language is inevitable.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 01:18, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081557	周巧	女==&lt;br /&gt;
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明朝万历年间，努尔哈赤率部崛起之时，作为女直后裔的满族并无文字。那时，文移往来必须靠蒙古语的学习与翻译才能完成。为满足文移往来，记注政事的需要，并解决“今我国之语，必译为蒙古语读之，则未习蒙古语者，不能知也”的问题，清太祖努尔哈赤于明万历二十七年，命额尔德尼、噶（gá）盖等改制国书（即，国家的语言文字），以改变满人说女真语却写蒙古字的尴尬局面。[ 明珠等奉敕修：《清实录·太祖高皇帝实录》，北京：中华书局，1986年，第2页。]&lt;br /&gt;
In the wanli period of Ming Dynasty, when Nurhachi led the rise of the Manchu, as a straight descendant of Jurchen, it had no written words. At that time, the exchange of letters had to rely on Mongolian learning and translation to complete. For recording the  political affairs and solving  the problem that &amp;quot;Nowadays, the language of our country have to be translated into Mongolian to read, otherwise  people can’t understand it without the learning of it. In the wanli 27 years of Ming Dynasty, Emperor Nurhachi（the first founder of Ming Dynasty） ordered Erdeni, Gagai and etc to reform credentials (namely the national language), which is to change the embarrassing situation of Manchu speaking Jurchen language while writing Mongolian. Beijing: Zhonghua Book Company, 1986, p. 2.&lt;br /&gt;
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During the Wanli period of Ming Dynasty, when Nurhachi led the rise of the Manchu, the Manchu, as the straight descendant of Jurchen, had no written words . At that time, the exchange of letters had to rely on Mongolian learning and translation. In order to meet the need of exchange of letters, recording and annotating the  political affairs as well as solving  the problem that &amp;quot;Nowadays, the language of our country have to be translated into Mongolian to read, and the people who do not learn Mobolian can't understand it.&amp;quot;, in the Wanli 27 years of Ming Dynasty, Emperor Nurhachi（the first founder of Ming Dynasty） ordered Erdeni, Gagai and etc to reform credentials (namely the national language), which aimed to change the embarrassing situation that Manchu speaking Jurchen language while writing in Mongolian. Beijing: Zhonghua Book Company, 1986, p. 2.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:16, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081561	朱素珍	女==&lt;br /&gt;
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自此，满洲的语言和文字渐趋一致。然而问题在于，此时创制的满洲语言（老满文）系参照畏兀儿体老蒙文字母，而蒙古与女真语音原本存在差异，借用的蒙文字母未必能充分传达女真语言的意义。如太宗皇太极在评价老满文时所说，“书中寻常语言，视其文义，易于通晓”，但“至于人名、地名，必致错误。”[ 中国第一历史档案馆、中国社科院历史研究所译注：《满文老档》，北京：中华书局，1990年，第1196页。]&lt;br /&gt;
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From then on, the languange and the forms in Manchurian language are gradually consistant. However, the problem is that the Manchurian language(Old Manchu) was created with the guidance of Uighur Old Mongolia alphabets, and there exist original difference between Mongolia and Jurchen pronunciation. Therefore, the borrowed Mongolian alphabets could not explicitly express the meaning of Jurchen language. Just as what the great emperor Taizong Hoang Taiji said when he evaluated Old Manchu: &amp;quot;You can easily understand the meaning of the ordinary language in a book written in Old Manchu. However, in terms of the name of people and places, the Old Manchu would lead you to misunderstanding without any doubt.&amp;quot;     (Translated by The First Historical Archives of China and Institute of Chinese Social History :''Manchu Old File'',Peking:Zhonghua Book Company,1990, page 1196.) &lt;br /&gt;
   Annotation:&lt;br /&gt;
   1. Jurchen: an ancient nationality in China&lt;br /&gt;
   2.Uighur(畏兀儿体/古维吾尔语): the earliest Mongolian Chinese characters&lt;br /&gt;
   3. Old Manchu:the language used by ancient Machurian&lt;br /&gt;
   4. Manchurian: the founder of Qing Dynasty&lt;br /&gt;
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From then on, the languange and the characters in Manchurian language are gradually consistant. However, the problem is that the Manchurian language(Old Manchu) was created with the guidance of Uighur Old Mongolia alphabets, and there existed original difference between Mongolia and Jurchen pronunciation. Therefore, the borrowed Mongolian alphabets could not explicitly express the true meaning of Jurchen language. Just as what the great emperor Taizong Hoang Taiji said when he evaluated Old Manchu: &amp;quot;You can easily understand the meaning of the ordinary language in a book written in Old Manchu. However, in terms of the name of people and places, the Old Manchu would lead you to misunderstanding without any doubt.&amp;quot; (Translated by The First Historical Archives of China and Institute of Chinese Social History :“Manchu Old File'',Peking:Zhonghua Book Company,1990, page 1196.) --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 05:10, 3 October 2021 (UTC)Chen Huini&lt;br /&gt;
   Annotation:&lt;br /&gt;
   1. Jurchen: an ancient nationality in China&lt;br /&gt;
   2.Uighur(畏兀儿体/古维吾尔语): the earliest Mongolian Chinese characters&lt;br /&gt;
   3. Old Manchu:the language used by ancient Machurian&lt;br /&gt;
   4. Manchurian: the founder of Qing Dynasty&lt;br /&gt;
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==英语语言文学（英美文学）	202120081479	陈惠妮	女==&lt;br /&gt;
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为此，皇太极命“巴克什”达海对老满文加以改进，使其音、义明晓，有助于学习，形成了所谓“新满文”。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第13页。]文字虽已形成，但满人一时间几乎无书可读，原因有二：其一，此时的满文尚属草创，旗人尚不能以满语编纂书籍；其二，汉字书籍的获取极为不易。&lt;br /&gt;
面对上述情况，太祖努尔哈赤敕令在旗人中延请师傅，教子弟读书，并令达海等人以满文翻译汉文典籍。&lt;br /&gt;
Therefore, the King asked Baks Dahai to develop the Old Manchu to make its sound and meaning more clear, which maked it easier to learn. It is in this way that the so-called New Manchu was formed. [E'ertai et al. Fengxiu: &amp;quot;Records of the Qing Dynasty·Records of Emperor Taizongwen&amp;quot;, Beijing: Zhonghua Book Company, 1985, p. 13. ] Although the characters and words have been developed, the Manchu can hardly find bookes to read for two reasons. One is that the Manchu language at that time is still an initial creation. The other is that it's so hard to get the books in Chineses charaters.On the face of this situation, Taizu Nurha Chi invited masters among the bannermen to teach children to read, and ordered Dahai and others to translate Chinese classics in Manchu. --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:59, 29 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Therefore, Huang Taiji (an emperor of Qing Dynasty) instructed &amp;quot;Bakshi (a title of a scholar of Qing Dynasty)&amp;quot; Da Hai to develop the Old Manchu to the so-called &amp;quot;New Manchu&amp;quot;, which made the sound and meaning more clear and then make it easier to learn. [E'ertai et al.: Factual Record of Qing Dynasty·Factual Records of Emperor Taizongwen, Beijing: Zhonghua Book Company, 1985, p. 13. ] Although the characters and words have been formed, the Manchu for a time almost no books to read for two reasons. One is that the Manchu language at that time was still an initial creation, and the Bannermen couldn't compile with it. The other was that the acquisition of books in Chineses charaters was extremely hard.On the face of this situation, Taizu Nurha Chi invited masters among the bannermen to teach children to read, and ordered Dahai and others to translate Chinese classics into Manchu.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 10:16, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081482	程杨	女==&lt;br /&gt;
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《清史列传》中对此的记载如下：弱冠，太祖高皇帝召直文馆，凡国家与明及蒙古、朝鲜词命，悉出其手。有诏旨应兼汉文者，亦承命传宣，悉当上意。旋奉命译《明会典》及《素书》、《三略》。[ 王钟翰点校：《清史列传》，北京：中华书局，1987年，第187页。]&lt;br /&gt;
The records of Da Hai in ''the Biographies of the Qing Dynasty'' as follows: at the age of twenty, he was called into the imperial palace and served in Wen Guan (the bureaucratic ministry for translating Chinese books in the early Qing Dynasty). The naming of new words that related to the Ming Dynasty, Mongolia and North Korea were all by him to complete. He was also instructed to convey some of the Chainese-related orders totally reflecting the will of the emperor. Soon, he was asked to translate ''the Code of Ming Dynasty'', ''Su Shu''(written in Qing Dynasty), and ''San Lue''(written by Huang Shigong).[''The Biographies of the Qing Dynasty'', edited by Wang Zhonghan, Zhong Hua Book Company, 1987, pp.187.]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 03:52, 29 September 2021 (UTC)&lt;br /&gt;
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The records of Da Hai in ''the Biographies of Qing Dynasty'' as follows: at the age of twenty, he was appointed by Nurhachi①as a translator in Wen Guan②. The naming of new words that related to Ming Dynasty, Mongolia and North Korea were all by him to complete. He was also instructed to convey some of the Han's language-related orders totally reflecting the will of the emperor. Soon, he was asked to translate ''the Code of Ming Dynasty'', ''Su Shu''③, and ''San Lue''④.[''The Biographies of the Qing Dynasty'', edited by Wang Zhonghan, Zhong Hua Book Company, 1987, pp.187.&lt;br /&gt;
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Annotation:①Nurhachi:the founder of Qing Dynasty, 1559–1626. ②Wen Guan: the bureaucratic ministry for translating Chinese books in the early Qing Dynasty. ③''Su Shu'': moral principles written in Western Han Dynasty by Huang Shigong. ④''San Lue'':military monograph written in Western Han Dynasty by Huang Shigong.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:10, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081483	丁旋	女==&lt;br /&gt;
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上文中所谓《明会典》，又称《大明会典》，系明代典章制度史书，内容涉及汉族文教、历法、习俗等。与《明会典》不同，《素书》成书于西汉，并非典章著作，而是哲理之学，道家思想的智慧之作。《三略》又名《黄石公三略》，既是军事战略专论，又糅合了诸子百家思想。&lt;br /&gt;
''Code of Ming Dynasty''① mentioned above, also known as ''Code of Great Ming Dynasty'', is one historical book about laws and regulations in the Ming Dynasty, covering Education of Han②, the Chinese calendar, and custom and so on. Different from Code of Ming Dynasty, ''Su Shu''③ written in the Western Han Dynasty is a wisdom work full of philosophy and Taoism rather than law and regulations. ''Sun-Lue''④, also called Sun-Lue of Huang Shigong, is not only a military strategy monograph but a mixture of the hundred schools of thought. &lt;br /&gt;
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Annotation: &lt;br /&gt;
①''Code of Ming Dynasty'': One code about Ming’s laws and regulations in many aspects started to write in 1393 and finished in 1578.&lt;br /&gt;
②Education of Han: The education policy initiated by emperors of Ming Dynasty in order to transmit Confucianism thoughts and consolidate their reign.&lt;br /&gt;
③''Su Shu'': It is one book full of principles and truth written by Huang Shigong in the western Han Dynasty. It is used for the reign of country because of its instructive and moral function.&lt;br /&gt;
④''Sun-Lue'': It is one famous ancient military book including three parts written by Huang Shigong in the Western Han Dynasty. The military thoughts in it are critically useful and different from others because it discusses military strategies from political perspective.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 06:43, 29 September 2021 (UTC)&lt;br /&gt;
''Code of Ming Dynasty''① mentioned above, also known as ''Code of Great Ming Dynasty'', is one historical book about laws and regulations in the Ming Dynasty, covering the range of Education of Han②, the Chinese calendar, and customs and so on. Different from Code of Ming Dynasty, ''Su Shu''③ written in the Western Han Dynasty is a work full of philosophical wisdom and Taoism rather than law and regulations. ''Sun-Lue''④, also called Sun-Lue of Huang Shigong, is not only a military strategy monograph but a mixture of the hundred schools of thought.&lt;br /&gt;
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==英语语言文学（英美文学）	202120081485	付红岩	女==&lt;br /&gt;
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以上三者皆是重要的汉文典籍，清太祖令达海翻译它们，开启了清代翻译汉籍（书）之先河，其政治策略上的深刻用意不言而喻。&lt;br /&gt;
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三 太宗时期汉籍（书）翻译之“兴”&lt;br /&gt;
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太宗皇太极即位后，为鼓励旗人读书，多措并举：一方面，要求“十五岁以下，八岁以上者，俱令读书”，惩处不愿教子读书者；另一方面，为改善“无书可读”的情况，又致函朝鲜，索求汉文典籍。&lt;br /&gt;
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Since the three ancient books just mentioned above were all significant Chinese classics, Nurhaci, the Emperor in Qing Dynasty requested Dahai, the official should translate the classics into the mongolian, whose profound meaning in the aspect of political layout was very explicit.&lt;br /&gt;
Third, the interest of translating Chinese classics has reached its climax during the power of Nurhaci.&lt;br /&gt;
After NUrhaci’s coming into the power, many decrees has been enacted in attempt to encourage the people to read. On the one hand, the teenagers between 8 and 15 were allowed to read. In addition , the parents who were reluctant to support their offspring to read would be punished. On the other hand, Qing Dynasty sent a letter to Korea, in which the former asked the later to denote more Chinese classics in order to improve the predicament that the books were not enough to read.&lt;br /&gt;
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批改：译者译文总体流畅，对原文理解总体得当。以下为细节处理上的建议 &lt;br /&gt;
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1.“清太祖”一词为中国专有名词，应先查后译。清太祖指的是努尔哈赤（1616-1626），是后金第一位大汗，清朝的奠基者，太祖在位时，“大清国”还没有定鼎中原，故此时的“清”并不能算是中国的一个朝代。译者将其处理为“the Emperor in Qing Dynasty”不够严谨。&lt;br /&gt;
建议改为：Nurhaci, the Founder of Qing Dynasty&lt;br /&gt;
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2.“三 太宗时期汉籍（书）翻译之‘兴’”此处为论文小标题，首先，应当注意标题格式。结构上，原文为名词短语，译者翻译时使用英语句子的SVO（A）结构，虽然意思完整，但失去了原文的简洁。&lt;br /&gt;
词语上，“兴”强调翻译之风的兴起、盛行，译者将其处理为“reached its climax”缺乏严谨性，太宗时期不一定是汉籍翻译的高潮时期。&lt;br /&gt;
建议改为：Third The Prosperity of Chinese Classics Translation During the Power of Nurhaci&lt;br /&gt;
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3.“十五岁以下，八岁以上者，俱令读书”&lt;br /&gt;
词语上，“令”是主动要求的意思，译者将其处理为“be allowed”，即被允许读书的可能性，读与不读似乎都是可以接受的。结合后文“惩处不愿教子读书者”，说明“令”是强制的。“be allowed”不能精准传达出原文清政府对旗人读书的鼓励与强制性。&lt;br /&gt;
结构上，原句省略了主语（清政府），原意为：清政府要求十五岁以下，八岁以上的人都得读书。译者将主动结构改为了被动结构，突出强调了实施对象。&lt;br /&gt;
建议改为：The teenagers between 8 and 15 were asked to read.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:20, 29 September 2021 (UTC)&lt;br /&gt;
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All the above three were important Han classics, so Nurhaci, the founder of Qing Dynasty, commanded Dahai to translate them into Manchu language, which opened the floodgates to the large-scale translations of Han classics and its profound political meaning was explicit.&lt;br /&gt;
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Third The Prosperity of Chinese Classics Translation During the Power of Nurhaci&lt;br /&gt;
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After Abahai, the son of Nurhaci, coming into power, many decrees has been issued to encourage people to read and study. On the one hand, hand, teenagers between 8 and 15 were asked to study, and their parents would be punished if they were unwilling to educate their children; On the other hand, in order to avoid the scarcity of Han classics, Qing Dynasty sent a written request to Korea for a generous lending.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:43, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081497	李瑞洋	女==&lt;br /&gt;
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《朝鲜王朝实录·仁祖实录》中写道：“闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。”[ 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第38页。]可见，皇太极此时想要借阅的并非汉文原书，而是汉籍的金、元译本，即女真语和蒙古文译本。对此，朝鲜政府方面虽然进行了回应，但态度并不热忱：见索《诗》、《书》、《四书》等书籍，此意甚善，深嘉贵国尊信圣贤，慕悦礼义之盛意。&lt;br /&gt;
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As mentioned in ''King Injo the Great'', one of the volumes in ''Annals of the Korean Dynasty'' “We heard your country have ''the Four Books'' and other classics including ''The Book of Poetry'' and T''he Book of History'', which were translated in Jin Dynasty and Yuan Dynasty, so we sincerely hope your generous lending of these books.” [National History Compilation Committee: ''Annals of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973,P38] Obviously, at this time what Huang Taiji wanted to borrow was not the original Chinese book, but the Jin and Yuan translations, namely the Jurchen and Mongolian versions. Although Korean officials responded to this request, they were not very willing: It is very nice of you to ask for the Four Books and other classics including ''The Book of Poetry'' and ''The Book of History'', and we really appreciate your country’s popularity of respecting men of virtue and advocating courtesy and justice.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 02:19, 29 September 2021 (UTC)&lt;br /&gt;
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It was recorded in ''King Injo the Great'', a volume of ''Annals of the Korean Dynasty'', that “We have heard your country have classics like ''The Book of Songs'', ''The Book of History'' and ''the Four Books'' , which were translated in Jin and Yuan Dynasties, so we sincerely hope for your generous lending of these books to us.”  [National History Compilation Committee: ''Annals of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, 38.]&lt;br /&gt;
Obviously, what Huang Taiji wanted to borrow at that time were not the original Chinese books, but the translated versions of Jin and Yuan periods, namely the Jurchen and Mongolian versions. Although Korean officials respondedt, they didn't give a active response: It is glad to receive your borrowing request of these books, and we do appreciate your country’s deeds of respecting men of virtues and advocating courtesy and justice.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:28, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081498	李姗	女==&lt;br /&gt;
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第国中所有，只是天下通行本，而金、元所译，则曾未得见，兹未能奉副，无任愧歉。[ 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第62页。]&lt;br /&gt;
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由于未能索得属意书籍，皇太极遂令达海继续翻译，后者于天聪六年开始翻译《通鉴》、《六韬》、《孟子》、《三国志（通俗演义）》，以及《大乘经》等。只可惜，由于达海英年早逝，上述书籍未能译竟。&lt;br /&gt;
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The one that existed in the great empire was just a general version that circulated all over the country.（* But the one that existed in the whole country was just a general version.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)） As the translating versions of Jin and Yuan were not publicized yet, it's a pity that their works were not able to be offered to the emperor.（* However, the translated versions in Jing Dynasty and Yuan Dynasty hadn't published yet.It's a pity that their works were not able to be offered to the emperor.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC))  [National History Compilation Committee: ''Records of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, 63.]&lt;br /&gt;
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Failing to obtain desired translation versions,the first emperor of Qing dynasty, ordered Dahai to continue his translation work. And in the sixth year of Huangtaiji's rule (the year of 1632), Dahai began to translate ''History as a Mirror'', ''The Six Arts of War'', ''The Records of Three Kingdoms'' as well as  ''Mahayana Sutra'' and so forth. [* ''Tong Jian'' ( a history book), ''Liu Tao'' ( a military book), ''Mencius''，''Records of the Three Kingdoms'' and ''Dacheng Jing'' ( a book about Buddhism) --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)]  Unfortunately, the translation of these books was not finished as a result of Dahai's early death.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 12:46, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081500	李文璇	女==&lt;br /&gt;
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清初之际，达海被满洲“群推为圣人”，他翻译的汉文书籍对于拓展满族的知识范围，甚为关键。[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第58页。]《清实录·太宗文皇帝实录》中说：其平日所译汉书，有《刑部会典》、《素书》、《三略》、《万宝全书》俱成帙。（天聪六年）时方译《通鉴》、《六韬》、《孟子》、《三国志（通俗演义）》及《大乘经》，未竣而卒。&lt;br /&gt;
In the early Qing Dynasty, Dahai was regarded as a sage by the people of Manchuria. The Chinese books translated by him was significant for extending the knowledge. In the book ''Memoir of the Qing Dynasty'' for the Emperor Taizong, it recorded that the books Dahai had translated, including ''Records of Ministry of Punishment'', ''Su Shu'' ( a book about Taoism), ''San Lue'' ( a military book), ''Wan Bao Quan Shu'' ( a book about daily life), all of which had been compiled into volumes. In 1632, he translated ''Tong Jian'' ( a history book), ''Liu Tao'' ( a military book), ''Mencius''，''Records of the Three Kingdoms'' and ''Dacheng Jing'' ( a book about Buddhism). However, he died without finishing these books.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:26, 28 September 2021 (UTC)--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:38, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081501	李雯	女==&lt;br /&gt;
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初我国未深谙典故，诸事皆以意创行，达海始用满文，译历代史书，颁行国中，人尽通晓。惟我太祖天纵聪明，因心肇造，所行皆与古圣贤同符默契。达海与额尔德尼应运而生，实佐一代文明之治云。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第10页。]&lt;br /&gt;
In the beginning, our country was not familiar with the ancient books and stories, so everything began by &amp;quot;thoughts&amp;quot;. Since Dai Hai began to use Man Character to translate historical books of the past dynasties and promulgated it in our country, it has become universal among public. Only my great Grandfather, gifted and wise, created from the heart, and acted in accordance with the ancient sages. So the Dai Hai and E Erdeni came into being following the tendecy, who help to create this generation of civilization.[E ertai,ect compiling by order of the Emperor;The record of Emperor Taizong in Qing Danasty,Beijing,Zhonghua Book Company,1985,Page 10.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:36, 29 September 2021 (UTC)&lt;br /&gt;
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In the beginning, our country established things at will without the study of ancient classics. They were not well-known to the public until Da Hai translated historical books of the past dynasties in Manchu and promulated them in the country. Only the Emperor Taizu, who founded the dynasty on his own way, was so gifted and wise that what he had done was exactly  accordance with the ancient sages.In reasponse to the call of the times, Da Hai and Erdeni came into being and helped to create this generation of civilization.[E ertai,ect compiling by order of the Emperor;''The Record of Emperor Taizong in Qing Danasty'',Beijing,Zhonghua Book Company,1985,Page 10.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:49, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081505	刘沛婷	女==&lt;br /&gt;
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如前所述，《明会典》、《素书》、《三略》等书的翻译始于太祖时期，但成书于天聪四年，其余书籍的翻译则为时稍晚。综观达海译书，既有《孟子》之类所谓“知正心、修身、齐家、治国”者，又有《素书》、《三略》和《六韬》等“益聪明智识，选练战攻的机权”者，以及《通鉴》等“知古来兴废事迹”者，他的翻译“实佐一代文明之治”。&lt;br /&gt;
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以《刑部会典》（又称《明会典》）为例，达海译本既是天聪年间国家创制法律的依据，也是太宗推行政治改革的蓝本。&lt;br /&gt;
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As mentioned above, the translation of ''Code of Great Ming Dynasty'', ''Su Shu'' and ''Three Policies'' began in the reign of Taizu but was completed in 1630. The other books were translated a little later. Da Hai's translations covered abundant eminent men, such as those in ''Mencius'' who make their minds just, morality cultivated, families regulated and the country governed orderly, and those with extrodinary intelligence and knowledge of training and combat in ''Su Shu'', ''Three Policies'' and ''Six Strategies'', as well as the men knowing the rise and fall of ancient times in ''Comprehensive Mirror for Aid in Government''. Therefore, his translations did promote the rule of civilization.&lt;br /&gt;
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Taking ''Code of Ministry of Penalty'' (also called ''Code of Great Ming Dynasty'')as an example,Da Hai's translations were not only the basis for establishing laws during the period of Tiancong, but also the blueprint for the political reforms carried out by Taizong.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 15:25, 28 September 2021 (UTC)&lt;br /&gt;
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As mentioned above, the translating of ''Code of Great Ming Dynasty'', ''Su Shu'' and ''Three Policies'' began during the reign of Taizu but was completed in 1630, the fourth year under the reign of Taizong. Other books were translated at a later time. Given that in Da Hai's translations exist abundant eminent men, such as those in ''Mencius'' who make their minds just, morality cultivated, families regulated and the country governed orderly, and those with extrodinary intelligence and knowledge of training the military in ''Su Shu'', ''Three Policies'' and ''Six Strategies'', as well as the men comprehending the ups and downs experienced by  dynasties in the past in ''Comprehensive Mirror for Aid in Government'', his translations did promote the governance under civilization.&lt;br /&gt;
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Taking ''Code of Ministry of Penalty'' (also called ''Code of Great Ming Dynasty'')as an example,Da Hai's translations were not only the basis for establishing laws during the period of Tiancong, but also the blueprint for the political reform carried out by Taizong.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 02:46, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081508	刘晓	女==&lt;br /&gt;
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太宗素有“振兴文治”的愿望，不仅创制了作为清代考试制度之滥觞的生员和举人考试，而且使巴克什、笔帖式制度臻于成熟，二者合力使得汉籍翻译的风气渐开：一方面，作为“巴克什”或“笔帖式”，希福、尼堪、刚林、苏开等人先后奉敕“（翻）译汉字书籍”或“记注国政”；另一方面，太宗以自古国家“以文教佐太平”为由，令满人争相读书，从生员中选取“文艺明通者优奖之”。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第14页。]&lt;br /&gt;
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在对待前朝即明代的问题上，太宗采取“讲和”与“自固”并行的政策，但其本人向往中原汉族文化，所谓“性嗜典籍，披览弗卷”即是这一情况的体现。&lt;br /&gt;
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Holding the idea to &amp;quot;revitalize the administration by education and culture&amp;quot;, Taizong not only created examinations from which the examination system of Qing Dynasty originated, for xiucai and juren, those who have passed in the exam at the county and provincial level respectively, but also made the Baksh and Bithesi system reach a mature state. Together, the two measures  promoted the translation of books written in Chinese. On one hand, Xifu, Nikan, Ganglin and Su Kai, as  &amp;quot;Bakshs&amp;quot; or&amp;quot;Bithesis&amp;quot;, successively &amp;quot;translated  Chinese books&amp;quot; or &amp;quot;annotated state affairs&amp;quot; by the order of the emperor. On the other hand, by saying that countries applied the education and culture to safeguarding the stablization since ancient times, Taizong urged people to scramble to study, and then awarded those from xiucai &amp;quot;who mastered literature and arts&amp;quot;. (''Records of Qing Dynasty· Emperor Taizong'', edited by Ertai, officials in the Qing Dynasty, Beijing: China Publishing House, 1985, P14.)&lt;br /&gt;
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In dealing with the treatment of the previous dynasty, that is Ming Dynasty, Taizong adopted the policy of &amp;quot;settling a dispute&amp;quot; and &amp;quot;self-consolidation&amp;quot;. But he himself yearned for the Chinese culture of the Central Plains, which is embodied by the so called expression &amp;quot;Loving Chinese works and reading Buddha volumes.&amp;quot;&lt;br /&gt;
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Holding to the idea of &amp;quot;revitalizing the empire by education and cultural development&amp;quot;, Taizong not only established shengyuan and juren exams（exams at the county and provincial level perspectively） initiating the imperial examination system of Qing Dynasty, but also brought the Baksh and Bithesi system to a mature state. Together, the two measures brought about the upsurge in translation of Han books. On the one hand, Xifu, Nikan, Ganglin and Su Kai, as &amp;quot;Bakshs&amp;quot; or&amp;quot;Bithesis&amp;quot;, successively &amp;quot;translated Han books&amp;quot; or &amp;quot;annotated state affairs&amp;quot; by the order of the emperor. On the other hand, in the name of the national tradition of ensuring stabilization by education and cultural development, Taizong urged Man people to read and those shengyuan who stands out for their familiarity with literature and arts were awarded. (The Memoir of Qing Dynasty· Emperor Taizong, edited by Ertai, officials in the Qing Dynasty, Beijing: China Publishing House, 1985, P14.)&lt;br /&gt;
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In dealing with the treatment of the former dynasty, namely Ming Dynasty, Taizong resorted to the policy of “peace negotiation” and &amp;quot; self-consolidation&amp;quot; in parallel. However, Taizong himself yearned for the Central Plains culture of Han, and the expression “a voracious reader of Han and Buddhist classics” can properly manifests it. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 07:53, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081510	刘运心	女==&lt;br /&gt;
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于是，太宗诏令儒臣翻译汉书，并命金、汉之人阅读。[ 同上，第2页。]太宗深知，汉文典籍言微而义大，其精要者不仅涉及帝王治平之道，而且涉及正心、修身、齐家之理。但汉文典籍数量庞杂，翻译时必须有所选择。&lt;br /&gt;
Therefore, Taizong issued an order asking the civilian official to translate Han books and all the Han and Jin people are required read those. (Ibid., p.2) Taizong knew well how brief and profound Han classics were. Their essence not only involves the governess of the country and its people, but also discusses inner integrity, decent behavior and family harmony. Nevertheless, a great number and variety of Han classics means what to be translated needs selection.&lt;br /&gt;
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Therefore, Taizong ordered Confucian officials to translate Han books, while all the Han and Jin people were required to read those. (Ibid., p.2) Taizong knew well that Han classics were sublime works with deep meaning, whose essentials included not only the method of statecraft, but also self-cultivation and family regulation. Nevertheless, among a great number of Han classics, there must be an extraction.&lt;br /&gt;
--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 02:14, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081511	罗安怡	女==&lt;br /&gt;
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如天聪六年九月，王文奎奏请从读书笔帖式内，选取“伶俐通文者”一、二人，并从秀才内选取“老成明察者”一、二人，令其“讲解翻写”。天聪九年三月二十一日，仇震向太宗谏言，要求从汉人中选取精通经、史者二、三人，并从金人中选取熟悉字法者三、四人，将各经史典籍及《通鉴》（即《资治通鉴》）中“有裨君道”的精要部分“集为一部”，日日讲解，以便统治者在翻译、日讲中学习汉族文化，以及治世之道。[ 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第24-25、115页。]固然，对于汉文典籍与汉族文化，太宗并非全盘接受，而是辩证地加以吸收。&lt;br /&gt;
For instance, in September, 1632, the sixth year of  T'ien-ts'ung (the first reign title of Emperor Taizong of Qing Dynasty), Wang Wenkui wrote to His Majesty, advising that they should elect one or two &amp;quot;literates who were skilled at writing and translation&amp;quot; from the bithesi, and one or two  &amp;quot;scholars who were learned and perspicacious&amp;quot;, for &amp;quot;teaching, interpretation, and translation&amp;quot; of Han classics. On March 21st, 1635, the ninth year of  T’ien-ts'ung,  Chou Zhen advised Emperor Taizong to elect two or three Han people who were proficient in lections and  historical records, and three or four Jin people who were familiar with 字法. These scholars should choose essentials from classics and ''The Zizhi'' (''The Zizhi Tongjian'') , which benefits the ideas of ruling power of feudal emperors,  and compile them into one book. Also they should discourse the compiled thoughts frequently, in which the ruler could learn the Han culture and method of statecraft. [Zhenyu, Luo .(罗振玉),《天聪朝臣工奏议》，Beijing：China Renmin University Press, 1989, P24-25, P115.] Of course, Taizong did accepted  Chinese classics and han culture critically and dialectically.&lt;br /&gt;
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For instance, in September, the sixth year of Tian Cong(the first reign title of Emperor Taizong of Qing Dynasty), Wang Wenkui wrote to His Majesty to pick up one or two who are &amp;quot;talented in literature” and pick up one or two who are &amp;quot;sophisticated and insightful&amp;quot;from the scholars for &amp;quot; interpretation, and translation&amp;quot; of Han classics. On March 21st, 1635, the ninth year of  T’ien-ts'ung,Qiu Zhen advised Emperor Taizong to pick up two or three Han people who were proficient in lections and  historical records, and three or four Jin people who were familiar with grammer to let them choose the essence which are benefical to the reign from classics and ''The Zizhi'' (''The Zizhi Tongjian'')   and compile them into one book.After that,they should illuminate the compiled thoughts every day, which is beneficial to the study of the ruler about the Han culture and ruling ways. [Zhenyu, Luo .(罗振玉),《天聪朝臣工奏议》，Beijing：China Renmin University Press, 1989, P24-25, P115.] Definitely speaking, Taizong did accepted  Chinese classics and han culture critically and dialectically.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:24, 29 September 2021 (UTC)(Luo Xi罗曦）&lt;br /&gt;
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==英语语言文学（英美文学）	202120081512	罗曦	女==&lt;br /&gt;
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如天聪九年五月，上谕文馆诸臣：朕观汉文史书，殊多饰辞，虽全览无益也。今宜于《辽》、《宋》、《金》、《元》四史内，择其勤于求治而国祚昌隆，或所行悖道而统绪废坠，与夫用兵行师之方略，以及佐理之忠良、乱国之奸佞，有关政要者，汇纂翻译成书，用备观览。至汉文正史之外，野史所载，如交战几合，逞施法术之语，皆系妄诞，此等书籍，传之国中，恐无知之人信以为真，当停其翻译。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第9页。]&lt;br /&gt;
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For instance，in May，the ninth year of Tian Cong，the emperor informed all the offcials in the cultural center that：I have read all those historical records in Han Dynasty filled with various ornaments，only to find that I have gotten nothing。Now you had better to pick up some references among &amp;lt;Liao&amp;gt;、&amp;lt;Song&amp;gt;、&amp;lt;Jin&amp;gt;、&amp;lt;Yuan&amp;gt; about some cases like dilligence making a prosperous country or idleness making a weak one,also,you can  pick up some military stratedies,and some information about those noble and talented citizens or traitors,and than you ought to translate all those relevence and compile them into a book prepared to be read.As for those unofficial history in Han excluded,like how many rounds did soldiers battle or the spell spoken by wizards,are all the nonsense,which will bewilder the ignorant,deserving to be prohibited from translation.{E Ertai：《清实录、太宗文皇帝实录》，Beijing：Chinese bookstore，1985，p9.}&lt;br /&gt;
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A modified version: For instance, in May 1653, the Emperor said to the ministers in Literature Institution(that is, the later Cabinet in Qing Dynasty), &amp;quot;I have leafed through the historical works in Chinese language with various ornamental rhetorics, but the complete reading of them is not beneficial. Now it is appropriate to select salient examples referred from the four historical recrods of ''Liao'', ''Song'', ''Jin'' and ''Yuan'', which will be compiled into books for later reading. These examples include those who were dedicated in governing the country thereby with a promising national development, or those who deviated from the correct path with weak administration, and the generals adept at warfare, loyal and honest servants assisting the sovereign to handle state affairs, the treacherous ones rendering the nation disorderly and chaotic as well as other relevant political workers. Meanwhile, apart from the official history, the unofficial historical works that record untrue events, like the conditions of battles, are all fabricated. If those unfavorable books are spread to the mainland, they may bewilder the ignorant and gullible individuals, thus deserving to be prohibited from translation. (E Eratai: ''Records of Qing Dynasty·Emperor Taizong'', Beijing: China Publishing House, 1985, Page9.)--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 04:47, 29 September 2021 (UTC)毛雅文&lt;br /&gt;
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==英语语言文学（英美文学）	202120081514	毛雅文	女==&lt;br /&gt;
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由上可知，在汉籍翻译的问题上，太宗讲求的是实用，希望将翻译与政要相关联，反对翻译浮华藻饰的汉文书籍，或者野史中所载不足为信者。以《刑部会典》的翻译为例，该译本的刊刻与颁行逐渐成为太宗朝的临政规范。《天聪朝臣工奏议》中说：“近奉上谕，凡事都照《大明会典》行，极为得策。”[ 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。]&lt;br /&gt;
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From here it can be seen that the Emperor Taizong put an emphasis on practicality with regard to the translation of Chinese works, hoping to associate translation with politics. He objected to the translation of Chinese books with flashy embellishments, or that of unofficial historical works recording unconvincing events. Take the translation of ''The Code of the Ministry of Penalty'' as an example. After its publication and promulgation, the tranlation of this code gradually became the norm of handling state affairs. ''The Petition of Ministers during the Reign of Tiancong'' states, &amp;quot;Recently, by the order of the Emperor, everything should be conducted in accordance with ''The Code of Ming Dynasty'', which is a desirable policy.&amp;quot; (Luo Zhenyu: ''The Petition of Ministers during the Reign of Tiancong'', Beijing: China Remin University Press, 1989, Page2.)&lt;br /&gt;
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From above it can be seen that the Emperor Taizong put an emphasis on practicality with regard to the translation of Chinese works, hoping to associate translation with politics. He objected to the translation of Chinese books with flashy embellishments, or that of unofficial historical works recording unconvincing events. Take the translation of The Code of the Ministry of Penalty as an example. After its publication and promulgation, the tranlation of this code gradually became the norm of handling state affairs. The Petition of Ministers during the Reign of Tiancong states, &amp;quot;Recently, by the order of the Emperor, everything has been conducted in accordance with The Code of Ming Dynasty, which is a desirable policy.&amp;quot; (Luo Zhenyu: The Petition of Ministers during the Reign of Tiancong, Beijing: China Renmin University Press, 1989, Page2.)--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:19, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081516	牟一心	女==&lt;br /&gt;
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宁完我也说，我国六部的设立原是照“蛮子家立的”，因而金官对于部中当举事宜原本并不知情，而今翻译《会典》（即《明会典》），参汉酌金，加以“打动”，必将使其“去因循之习”而“渐就中国之制”。[ 同上，第82页。]&lt;br /&gt;
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四 世祖时期汉籍（书）翻译之发展&lt;br /&gt;
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清初儒臣中，除额尔德尼、噶盖和达海之外，通满、蒙、汉字者不乏他人，如伊成额、希福、刚林等，便是其中姣姣者。&lt;br /&gt;
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Ning Wanwo also said that the establishment of the six ministries in feudal China was based “on that of minority nationalities”, so the officers of Jin Dynasty had no idea about the affairs in the ministries. Now the translation of Code(a record of laws and systems of a dynasty)(namely, Code of Great Ming Dynasty) must refer to both the precedents of Central China and Jin Dynasty and amend them to make it get rid of rigid traditions and turn to the conventions of Central China.[ibidem, Page 82]&lt;br /&gt;
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FOURTH  The development of Chinese literature (books) in Qing Dynasty Shunzhi period&lt;br /&gt;
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Among the civilian officials in the early Qing Dynasty, besides Erdeni, Gagai, Daher, there is no lack of masters of Manchu language, Mongolian and Chinese, such as Icher, Hifo, Galin, who were the strong performers among them.&lt;br /&gt;
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Ning Wanwo also said that the establishment of the six ministries of feudal China was based on “that of the southerners”, so Jin Guan had no knowledge of the affairs concerning the appointment in the ministries. Now the translation of Code( a record of laws and systems of a dynasty)( namely, Code of Great Ming Dynasty) must refer to both the precedents of Han and Jin Dynasty and then amend them to make it get rid of rigid traditions and gradually conform to the conventions of Central China. [ibidem, Page 82.]&lt;br /&gt;
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FOURTH  The development of Chinese literature (books) in Shizu Period &lt;br /&gt;
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Among the civilian officials in the early Qing Dynasty, besides Erdeni, Gagai, Daher, there is no lack of masters of Manchu language, Mongolian and Chinese, such as Icher, Hifo, Galin, who were the best performers of them.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:58, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081521	石丽青	女==&lt;br /&gt;
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据传，伊成额不仅将《太祖高皇帝实录》译成汉文，而且翻译了朝鲜所奏表章，以及《礼部会典》等书。[ 清高宗敕纂：《八旗满洲氏族通谱》，沈阳：辽沈书社，1989年，第10页。]希福兼通满、蒙、汉三种语言，他的翻译有别于伊成额，不是将满文译成汉语，也不是将朝鲜文译成满语，而是主要翻译汉书、汉典，所翻译的汉文书籍包括《辽》、《金》、《元》三史等。希福的上述译书于顺治元年进呈皇帝，获世祖恩赉。&lt;br /&gt;
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It is said that Yi Cheng'e translated not only the Annals of Emperor Taizu Gao into Chinese, but also the seals played by North Korea and the Book of the Ministry of Ceremonies. [ Qing Gaozong's Royal Compilation: &amp;quot;Eight Banners Manzhou Clan Genealogy&amp;quot;, Shenyang: Liaoshen Publishing House, 1989, page10.] Xifu was fluent in Manchu, Mongolian and Chinese. His translation was different from Yicheng'e. He did not translate Manchu into Chinese or Korean into Manchu, but mainly translated  Chinese books and Chinese classics, including Liao, Jin and Yuan. Xifu's translation was presented to the emperor in the first year of Shunzhi and won the honor of Shizu. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:50, 29 December 2021 (UTC)&lt;br /&gt;
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It is said that Yi Cheng'e translated not only the Factual Record of Taizu, but also the memorials presented to the emperor  by North Korea, Records of the Board of Rites, and other books. [ Qing Gaozong's Royal Compilation: &amp;quot;Eight Banners Manzhou Clan Genealogy&amp;quot;, Shenyang: Liaoshen Publishing House, 1989, page10.] Xi Fu was proficient in Manchu, Mongolian and Chinese, whose translation was different from Yi Cheng’e’s. Neither did he translate Manchu into Chineses nor Korean into Manchu, he mainly translated Chinese books and classics, including Liao, Jin and Yuan. Xi Fu’s translation was presented to the emperor in the first year of Shunzhi and won the honor of Shizu.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:14, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081523	王李菲	女==&lt;br /&gt;
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《清实录·世祖章皇帝实录》中，曾详细记载了希福进呈译本时的情形：窃稽自古史册所载，政治之得失，民生之休戚，国家之治乱，无不详悉具备，其事虽往，而可以诏今；其人虽亡，而足以镜世。故《语》云：“善者吾师，不善者亦吾师。”从来嬗继之圣王，未有不法此而行者也。&lt;br /&gt;
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In the “Records of Qing Dynasty· Emperor Fu Lin”, there was a detailed record of the situation when Xi Fu presented the translation: in the ancient records, whatever gain and loss in politics, weal and woe of people’s livelihood, or governance and chaos of countries,  they’ve all been documented in detail.  Although things have passed, they can still enlighten us. The ancestors have passed away, they can also provide references. Therefore, the “Language” said, “The heroes are my teacher, and so are the villains .” Virtuous emperors from ancient times to present have all followed this rule.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:01, 28 September 2021 (UTC)&lt;br /&gt;
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The “Records of Qing Dynasty· Emperor Fu Lin”, which once recorded in detail the situation when Xi Fu presented the translation:  As far as I am concerned, from the ancient records, the gains and losses of politics, the welfare and woe of people’s livelihood, and the governance and chaos in the country, all of which have been documented in detail.  Although things have passed, they can still enlighten us. Although the ancestors passed away, they are enough to mirror the world. Therefore, the “Language” says, “The success is my teacher, and so is the failure.” Virtuous emperors from ancient times have all followed this rule.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:01, 28 September 2021 (UTC)    Edited by Wang Zhenlong.&lt;br /&gt;
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==英语语言文学（英美文学）	202120081525	王镇隆	男==&lt;br /&gt;
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辽、金虽未混一，而辽已得天下之半，金亦得天下之大半，至元则混一寰区，奄有天下，其法令政教皆有可观者焉。我先帝鉴古之心，永怀不释，特命臣等将《辽》、《金》、《元》三史，芟（shān）削繁冗，惟取其善足为法，恶足为戒，及征伐畋（tián）猎之事，译以满语，缮写呈书。臣等敬奉纶音，将《辽史》自高祖至西辽耶律大石末年，凡十四帝，共三百七年；《金》凡九帝，共一百十九年；《元》凡十四帝，共一百六十二年，详录其有裨益者，……伏乞皇上万几之暇，时赐省览，懋稽古之德，弘无前之烈，臣等不胜幸甚。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第15-16页。]&lt;br /&gt;
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Although Liao and Jin did not mix together, Liao had already won half of the world, and Jin had also won the other half. Until the Yuan Dynasty, they were combined into one whole world,and there were considerable and available laws, politics and religions. My first emperor’s desire to learn from the ancients will never be released. I and other ministers were ordered to edit and slash the three histories of &amp;quot;Liao&amp;quot;, &amp;quot;Jin&amp;quot; and &amp;quot;Yuan&amp;quot;, but take the good part as the law, and the evil part as the precepts. And the matters of conquering and hunting, were translated into Manchu,written and presented in a book. I and others followed respectfully my Lord ‘s orders,took the history of Liao from Gaozu to the last year of Yelu Dashi of Xi Liao, where there were 14 emperors, a total of 370 years; Jin, the nine Emperors, lasted one hundred and nineteen years;Yuan recorded all the fourteen emperors for 162 years, and had careful records of those who have benefited us, ... I beg my Lord to have occasional reviews when my Lord is not dealing with country’s affairs,and to encourage your people to live up to ancient virtues and promote the unparalleled huge achievement. I and other would greatly appreciate it. [E'ertai et al. revised with imperial edict &amp;quot;Records of the Qing Dynasty·Records of Emperor Shizuzhang&amp;quot;, Beijing: Zhonghua Book Company, 1985, pp. 15-16. ]&lt;br /&gt;
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Although Liao and Jin did not unite, Liao had already occupied half of the world, so had Jin. Until Yuan Dynasty, they combined and occupied the whole country, and there were considerable and available laws, politics and religions. My previous emperor’s desire to learn from the ancients will never be released. Other ministers and I were ordered to edit and slash ''the History of Liao, Jin and Yuan Dynasty'', take merits as the principle, and learn lessons from demerits. And the matters of conquering and hunting, were translated into Manchu, written and presented in a book. We followed respectfully my Majesty ‘s orders, took ''The History of Liao Dynasty'' from Gaozu to the last year of Yelu Dashi of Xi Liao, where there were 14 emperors, a total of 370 years; ''Jin'', nine Emperors, lasted one hundred and nineteen years; ''Yuan'' recorded all the fourteen emperors for 162 years, and had careful records of those who have benefited us, ... I beg my Majesty to have occasional reviews when he is not dealing with country’s affairs, and to encourage people to observe traditional virtues and advocate the unprecedent huge achievement. We all would greatly appreciate it. [E'ertai et al. revised with imperial edict ''Records of Emperor Shizuzhang in the Qing Dynasty'', Beijing: China Book Company, 1985, pp. 15-16. ]--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:35, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081526	卫怡雯	女==&lt;br /&gt;
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上文中，不仅明确论及汉文典籍的历史作用，而且阐述了翻译这些典籍的必要性、作用与目的等，其总目标是“懋稽古之德”，以翻译佐文教，治太平。换言之，希福希望通过翻译《辽》、《金》、《元》三史等，从中原汉族王朝中借鉴国家治理经验，以接续太宗皇太极以来以经世致用为核心的翻译思想，并为嗣后翻译汉籍树立原则与典范。据《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》，以及《清代内府刻书目录解题》等综合统计，顺治年间，由官方刊刻的汉书满文译本共九种，分别是《辽史》、《金史》、《元史》、《洪武要训》、《三国志（通俗演义）》、《诗经》、《表忠录》、《孝经》（阿什坦译）和《六韬三略》。其中，顺治七年译成的《三国志（通俗演义）》既有满文本，又有满汉合璧本。&lt;br /&gt;
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As described in the above, it not only discussed the historical role of Chinese classics, but also illustrated the necessity, the function and the goal of translating these ancient books and records. The overall goal is to encourage people to observe traditional virtues, using translation to assist the country to develop culture and education. In other words, Xifu wanted to draw on the experience of state governance from Han Dynasty in the central China through translating the history of Liao, Jin, and Yuan Dynasty in order to succeed the thought of translation of administering state affairs and applying theory to practice as the core since the emperor Taizong Huangtaiji, and set up the principle and model of translating Chinese books for later generation. According to general statistics of The General Catalogue of The Best Edition and the Ancient Books and Records of Taipei's National Palace Museum, The Catalogue of World’s Manchu Literature and The Union Directory of National Manchu Books and Materials and Solving Problems in the Catalogue of Engraved Books in the Qing Dynasty, during the period of Tongzhi, there are nine Manchu translated versions of the official published Chinese books by blocking print, they are: The History of Liao Dynasty, The History of Jin Dynasty, The History of Yuan Dynasty, Hongwu Yaoxun, The Romance of Three Kingdoms, Book of Songs, The Record of Loyalty, Classic of Filial Piety(translated by Ashtan), Liu Tao and San Lue. Among them, The Romance of Three Kingdoms translated in the seventh year of Tongzhi had both Manchu version and the combined one of Chinese and Manchu.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:23, 29 September 2021 (UTC)&lt;br /&gt;
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Thereinbefore, it not only discussed the historic role of Chinese classics, but also illustrated the necessity, the function and the goal of translating these books. The overall goal is to encourage people to observe traditional virtues, using translation to develop culture and education and bring social prosperity. In other words, Xifu wanted to draw on the experience of state governance from Chinese dynasty in the central plains through translating the histories of ''Liao'', ''Jin'', and ''Yuan''. In this way, the translation idea originated from the dynasty of Huangtaiji that knowledge should benefit national affairs can be succeeded and set up the principle and model of translating Chinese books for later generation. According to the general statistics of ''The General Catalogue of the Publications and Classics of National Palace Museum'', ''The Catalogue of World’s Manchu Literature'' and ''The Union Catalogue of National Manchu Books and Materials'' and ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty'', during the period of Shunzhi dynasty, there are nine official Manchu translations of Chinese books.They are ''History of Liao Dynasty'', ''History of Jin Dynasty'', ''History of Yuan Dynasty'', ''Hongwuyaoxun'', ''Records of the Three Kingdoms'', ''Classic of Poetry'', ''Record of Loyalty'', ''Classic of Filial Piety''(translated by Ashtan), ''Liutaosanlue''. Among them, ''Records of the Three Kingdoms'' translated in the seventh year of Shunzhi dynasty has both Manchu version and the combined one of Chinese and Manchu.(revised by Wei Chuxuan)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:11, 29 September 2021 (UTC)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:59, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081527	魏楚璇	女==&lt;br /&gt;
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另外，《孝经》曾于顺治、康熙、雍正朝刊刻三次，但版本明显不同：顺治年间的刊行本为阿什坦译本，康熙年间的刊行本为和素译校本，雍正时期的版本则译者未明，仅注明“雍正皇帝敕译”。令人好奇的是，虽然世祖笃信佛教，论佛谈法，但从相关文献看，未见有顺治朝翻译的汉文经书，其中原因，不得而知。&lt;br /&gt;
What's more, ''Filial Piety'' has different publications of translation in different dynasties. In Shunzhi dynasty, the publication is Ashtan's translation. In Kangxi dynasty, the publication is Hesu's translation. In Yongzheng dynasty, the translator is unknown. It is only indicated in the publication that the translation is asked by Yongzheng emperor. Curiously according to relevant literature though Shunzhi emperor believed in Buddhism, there is no translation of Buddhist classics made in his dynasty. And the reason of this remains a mystery.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:12, 29 September 2021 (UTC)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:05, 29 September 2021 (UTC)&lt;br /&gt;
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What's more, ''Filial Piety'' has been published and printed three times in the dynasty of Shunzhi, Kangxi and Yongzheng respectively but with three obvious different versions. During the Shunzhi dynasty was the translation of Ashtan, during the dynasty of Kangxi was of Hesu and during the Yongzheng dynasty was of the unknown writer, only indicating &amp;quot;translating under the order of the emperor Yongzheng&amp;quot;. What made people curious was that although Shizu sincerely believed in Buddhism, talking about Buddhism and Buddhist doctrine, there was no Chinese Confucian classics translated during the Shunzhi Dynasty according to the relevant references. And the reason of this remains unknown.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:14, 29 September 2021 (UTC)(Wei Zhaoyan 魏兆妍）&lt;br /&gt;
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==英语语言文学（英美文学）	202120081528	魏兆妍	女==&lt;br /&gt;
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世祖年间翻译刊行的九种汉文书籍中，《六韬》、《三国志（通俗演义）》和《大乘经》等三种原系达海于天聪六年开始翻译，但由于达海早逝未能译成。三部作品中，尤以《三国志（通俗演义）》的翻译所获世祖认可为甚。《清实录·世祖章皇帝实录》中说：&lt;br /&gt;
以翻译《三国志（通俗演义）》告成，赏大学士范文程、刚林、祁充格、宁完我、洪承畴、冯铨、宋权、学士查布海、苏纳海、王文奎、伊图、胡理、刘清泰、来袞（gǔn）、马尔笃、蒋赫德等鞍马、银两有差。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第13页。]&lt;br /&gt;
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Nine kinds of Chinese literary books has been translated and published during the year of Shizu, among which Da Hai began translating three kinds of the original system of ''Liu Tao'', ''The Popular Romance of the Three Kingdoms'' and ''Mahayana Sutra'' during the sixth year of Tian Cong. However, Da Hai failed to translate them all successfully due to his early death. Among these three works, especially the translation of ''The Popular Romance of the Three Kingdoms'' has received the most approval of Shizu. Said in ''The Real Record of the Qing Dynasty · Real Record of the Emperor Shizu Zhang'': With the completed translation of ''The Popular Romance of the Three Kingdoms'', Shizu would award some side horses and silver to the Grand Master  Fan Wenching, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan and Bachelor Zha Buhai, Su Nahai, Wang Wenkui, Yi Tu, Hu Li, Liu Qingtai, Lai Gun, Ma Erdu, Jiang Hede. [ Ertai and others were ordered by the emperor to modify: ''The Real Record of Qing Dynasty · Real Record of the Emperor Shizu Zhang'', Beijing: China Publishing House, 1985, Page 13. ]--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:52, 29 September 2021 (UTC)&lt;br /&gt;
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Among the nine kinds of Chinese books translated and published during the reign of Shizu emperor , three were first translated by Da Hai in 1632, including &amp;quot;Liu Tao&amp;quot;, “The Popular Romance of the Three Kingdoms&amp;quot; and &amp;quot;Mahayana Sutra”. Yet they failed to be finished due to his early death. Of the three works, the translation of &amp;quot;The Popular Romance of the Three Kingdoms&amp;quot; received the most recognition of Shizu emperor. According to &amp;quot;The Real Record of the Qing Dynasty · Real Record of the Emperor Shizu Zhang&amp;quot;: Given the successful  translation of &amp;quot;The Popular Romance of the Three Kingdoms&amp;quot;, Shizu emperor awarded some side horses and silver to the Grand Master  Fan Wenching, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan and Bachelor Zha Buhai, Su Nahai, Wang Wenkui, Yi Tu, Hu Li, Liu Qingtai, Lai Gun, Ma Erdu, Jiang Hede, and the amount of awards depended on their position.[ Ertai and others ordered by the emperor to modify: ''The Real Record of Qing Dynasty · Real Record of the Emperor Shizu Zhang'', Beijing: China Publishing House, 1985, Page 13. ]--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 07:32, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081531	肖毅瑶	女==&lt;br /&gt;
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此次获得赏赐者共计十六人，从大学士到学士不等，既赏鞍马，又赏银两，可见其对于该书翻译的重视。值得特别注意的是，关于《三国志（通俗演义）》一书的翻译，《清初内国史院满文档案译编》中也有记载，不仅更加详实，而且内容上也与《清实录》中的记载有较大出入。为便于比较，现一并摘录如下：&lt;br /&gt;
A total number of 16 officers, varying from Grand Masters to Bachelors, were awarded saddled horses and silver, which indicated that the emperor had attached great importance to the translation of this book. Besides,  what deserves a speacial attention was that  ''Translation and Compilation of Manchu Archives of the National Institute of History in the Early Qing Dynasty'' also documented some facts about the translation of the ''Romance of Three  Kingdoms''. The records were not only more detailed but also quite different from that of the ''Factual Record of Qing dynasty''. For the convenience of comparison, both were excerpted as follows:&lt;br /&gt;
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A total number of 16 officers, varying from Grand Academcians to Bachelors, were awarded saddled horses and silver, which indicated that the emperor had attached great importance to the translation of this book. Besides,  it is worth paying speacial attention that  ''Translation and Compilation of Manchu Archives of the National Institute of History in the Early Qing Dynasty'' also documented some facts about the translation of the ''Romance of Three  Kingdoms''. The records were not only more detailed but also quite different from that of the ''Factual Record of Qing dynasty''. For the convenience of comparison, both were excerpted as follows:----[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 13:33, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081532	谢佳芬	女==&lt;br /&gt;
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以翻译《三国志（通俗演义）》告成，赏赐内翰林院大臣。赏予大学士范文程巴克什、刚林巴克什、祁充格、宁完我、洪承畴、冯铨、宋权七大臣彩鞍、雕辔（pèi）、……头等马各一匹、银各五十两。赏学士查布海、苏纳海、王文奎、伊图、胡理、清泰、来袞、马迩都、赫德九人无鞍二等马各一匹、银各四十两。&lt;br /&gt;
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 When ''Romance of the Three Kingdoms’’ having been completed，all the ministers in Hanlin Academcian were awarded. The grand secretaries  Fan Wencheng, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan were rewarded color saddle, bridle, one first-class horse and fifty liang of silver respectively. The nine scholars, Cha Buhai, Su Nahai, Wang Wenkui, Yitu, Huli, Qingtai, laigon, Ma Youdu and Hede, each have one  second-class bareback horse and forty liang of silver&lt;br /&gt;
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After the completion of “Records of the Three Kingdoms”, ministers of Hanlin Academy were awarded. Maesters including Fan Wencheng, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan were awarded with colorized saddle, bridle, a first-class horse and fifty Liang of silver respectively. Nine scholars like Cha Buhai, Su Nahai, Wang Wenkui, Yitu, Huli, Qingtai, laigon, Ma Youdu and Hede, each of them has one  second-class bareback horse and forty liang of silver respectively.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 13:45, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081534	熊敏	女==&lt;br /&gt;
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赏内弘文院主事能图、叶成格、曹皮、铿特依、杜当、布尔凯、侍讲学士吕宗烈、侍读学士张皮机、典籍官王丛庞九人银各四十两。赏博士科尔科岱、霍斯霍利、尼曼、苏和、奇同格、芒色、霍托、穆成格、周有德、必利科图、国史院博士图巴海、秘书院秦达浑臣十二人银各二十两。赏笔帖式翁国顺、额斯黑、高利、马齐蘭、乌勒扈、穆成格、必利科图、严楚蘭、阿希图、国史院笔帖式朱臣十人银各二十两。&lt;br /&gt;
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Chiefs of Hongwen Academy like Neng Tu,Ye Chengge,Cao Pi,Qiang Teyi,Du Dang, But Erkai,teacher like Lv Zonglie, attendant like Zhang Piji, manager of ancient books like Wang Congpang were rewarded forty pounds of silver respectively.Doctor Me Erkedai, Huh Sihuoli,Niman,Su He,Qi Tongge, Mang Se, Huo Tuo,Mu Chengge,Zhou Youde, Bi Liketu,Tu Bahai,Qin Dahun were all awarded 20 pounds of silver. Weng Guoshun,E Sihei,Golly, Ma Qilan,Wu Leba,Mu Chengge, Bi Liketu,Yan Chulan,A Xitu,Zhu Chen were all rewarded with 20 pounds of silver.&lt;br /&gt;
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Chief cadres of Hongwen Academy including Neng Tu,Ye Chengge,Cao Pi,Qiang Teyi,Du Dang,Bu Erkai,Teacher like Lv Zonglie, Attendant like Zhang Piji, Manager of ancient books Wang Congpang were rewarded forty silver pounds respectively. Doctor Me Erkedai, Huh Sihuoli,Niman,Su He,Qi Tongge, Mang Se, Huo Tuo,Mu Chengge,Zhou Youde, Bi Liketu,Tu Bahai,Qin Dahun were all awarded 20 silver pounds. Weng Guoshun,E Sihei,Golly, Ma Qilan,Wu Leba,Mu Chengge, Bi Liketu,Yan Chulan,A Xitu,Zhu Chen were all rewarded with 20 silver pounds.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 12:23, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081539	羊叶	女==&lt;br /&gt;
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以上送礼部一一宣名，跪受赏。[ 中国第一历史档案馆编：《清初内国史院满文档案译编·顺治朝》，北京：光明日报出版社，1989年，第80页。]&lt;br /&gt;
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显然，上述两种文献提到的系同一件事情，但内容上有明显出入：首先，封赏的人数不同。&lt;br /&gt;
The officials above give gifts to the Ministry of Rites one by one, being declared the name, and kneeling to be rewarded. [Editor of China's First Historical Archives: Translation of manchu archives of the National Historical Institute of the early Qing Dynasty, Shunzhi Dynasty, Beijing: Guangming Daily Press, 1989, p. 80.] Obviously,the two documents mention the same thing, but there are obvious differences in content: first, the number of people who are rewarded is quite different.&lt;br /&gt;
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All these officials on the list will be named in recognition and rewarded on their knees at the Ministry of Rites. [ Edited by the First Historical Archive of China: &amp;quot;Translation and compilation of Manchu archives in the Early Qing Dynasty•Shunzhi Dynasty&amp;quot;, GuangMing Daily Press, 1989, P80]&lt;br /&gt;
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Appartently, the two literatures mentioned above refer to the same thing, but they differ in content: Firstly, the number of rewarded people is different. --[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:34, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081543	杨柳青	女==&lt;br /&gt;
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例如，《清实录》中只有十六人，《清初内国史院满文档案译编》则多达四十七人，二者之间的出入主要在于弘文院主事、侍讲与侍读学士、典籍官、博士，以及笔帖式等职官群体名单。其次，在赏赐的物件问题上，《清初内国史院满文档案译编》的记载较之《清实录》明显更加详实、具体，可信度更高。再次，在个别封赏对象的称呼上，两种文献之间也有差异。&lt;br /&gt;
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For example, only 16 civil officials are rewarded according to the &amp;quot;Records of the Qing Dynasty&amp;quot; while officials who are rewarded according to the &amp;quot;Translation and Compilation of Manchu Archives of the Chinese Academy in the Early Qing Dynasty&amp;quot; are as many as over 40.  This difference mainly lies in the list of official groups such as the director of the Hong Arts Institute, official bachelors, classics officers, learned scholars and clerks handling paperwork. Secondly, the records about rewarded items in the &amp;quot;Translation of Manchu Archives of the Chinese Academy in the Early Qing Dynasty&amp;quot; are obviously more detailed, accurate and credible than those in the &amp;quot;Records of the Qing Dynasty&amp;quot;.  Thirdly, there are also some differences between the two literatures in terms of the appellation of the rewarded officials.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:30, 29 September 2021 (UTC)&lt;br /&gt;
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For example, only 16 civil officials were rewarded in the The Records of the Qing Dynasty while officials rewarded in the Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty were as many as over 40. This difference mainly lay in the list of official groups such as the director of the Hong Arts Institute, official bachelors, classics officers, learned scholars and clerks handling paperwork. Secondly, the records about rewarded items in the Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty were obviously more detailed, accurate and credible than those in the The Records of the Qing Dynasty. Thirdly, there were also some differences between the two literatures in terms of the appellation of the rewarded officials.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:11, 29 September 2021 (UTC)--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:11, 29 September 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==英语语言文学（英美文学）	202120081545	易扬帆	女==&lt;br /&gt;
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例如，《清实录》中的“刘清泰”被写作《清初内国史院满文档案译编》中的“清泰”，“马尔笃”被写作“马迩都”，“蒋赫德”被写作“赫德”，等等。&lt;br /&gt;
世祖年间翻译的汉文书籍中，《洪武宝训》、《表忠录》、《诗经》与《孝经》等也各具代表性。《洪武宝训》系明朝皇权政治的象征，反映了明太祖朱元璋治国理政的理念和方针政策。&lt;br /&gt;
For example, Liu Qingtai in Factual Record of Qing Dynasty was written as Qingtai in Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty, Mar Du was written as Ma Erdu, and Jiang Hede was written as Hurd, etc.&lt;br /&gt;
The translated Chinese books in the certain era of Fulin years, such as HongWu Baoxun, The Record of Loyalty, Books of Songs and Classic of Filial Piety have had their own representatives.  HongWu Baoxun was a symbol of the imperial power politics of Ming Dynasty, which reflected the ideas and policies of Zhu Yuanzhang, the emperor Taizu of Ming Dynasty.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 16:03, 28 September 2021 (UTC)Yi Yangfan&lt;br /&gt;
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For example, “Liu Qingtai” in Factual Record of Qing Dynasty was written as “Qingtai” in Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty, &amp;quot;Mar Du&amp;quot; was written as &amp;quot;Ma Erdu&amp;quot;, &amp;quot;Jiang Hede&amp;quot; was written as &amp;quot;Hede&amp;quot;, and so on. The translated Chinese books in Fulin years, such as HongWu Baoxun, The Record of Loyalty, Books of Songs and Classic of Filial Piety all were of representative. Hongwu Baoxun was a symbol of imperial power politics in the Ming Dynasty and reflected the ideas and policies of Zhu Yuanzhang, the emperor of the Ming Dynasty.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 02:46, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081546	殷慧珍	女==&lt;br /&gt;
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顺治三年三月，《洪武宝训》的满文翻译完成，成为清朝入关后的首部汉籍译作。世祖对于该部译作极为重视，不仅赏赐了刚林、宁完我、范文程等译者，而且由摄政王多尔衮钦命汉官代笔，以世祖名义为译作制作序文，颁行全国。世祖对明太祖推崇备至，尤其是后者制定的条例章程，认为历代贤君莫如洪武，因而本书的翻译目的性极强。&lt;br /&gt;
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In the March of the third year of Shunzhi, the Manchu translation of Hongwu Baoxun was completed, becoming the first translation written by Chinese writer after the Qing Dynasty was in power. The emperor Shizu attached great importance to this translation. He not only rewarded the translators such as Gang Lin,Ning Wanwo, and Fan Wencheng, ect., but also the regent Dorgon appointed Han officals to write a preface in the name of Shizu, which was issued throughout the country. The emperor Shizu revered the emperor Taizu of Ming Dynasty, especially the regulations and articles he formulated, and believed that there were no virtuous monarchs of all dynasties like Hongwu, so the translation purpose of this book was very strong.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 01:17, 29 September 2021 (UTC)&lt;br /&gt;
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In the March of the third year of Shunzhi, the Manchu translation of Hongwu Baoxun was completed, becoming the first translation done by Chinese translators since the Qing Dynasty was established. The Emperor Shizu attached great importance to this translation. Not only he rewarded the translators such as Gang Lin,Ning Wanwo, and Fan Wencheng, ect., but also the regent Dorgon appointed the officals of Han Dynasty to write a preface, which was issued throughout the country, in the name of Shizu. The Emperor Shizu praised the emperor Taizu of Ming Dynasty highly, especially the regulations and articles he formulated, and he believed that there were no more virtuous monarchs of all dynasties than Hongwu, so the translation purpose of this book was very strong.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:21, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081548	尹媛	女==&lt;br /&gt;
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换言之，世祖希望借由此书的翻译，以中原汉族王朝的所谓“正统”巩固满清统治，粉饰民族征服和民族压迫。事实上，以翻译汉书，尤其是汉文典章制度书籍的翻译，作为统治的工具和手段，这一点在太宗时期即已存在。作为国家治理的重要手段，太宗不仅令达海改进老满文，而且钦定翻译了不少汉文书籍，如明太祖颁发的《大诰三编》和《三国演义》等，用作出谋划策和军事征讨的参考。&lt;br /&gt;
In other words, Shizu hoped to consolidate the rule of Qing Dynasty with the so-called &amp;quot;orthodox&amp;quot; of Han Dynasty in the Central Plains to deny national conquest and oppression by translating this book. Actually, in the reign of Emperor Taizong, it had existed that the translation of Chinese books, especially the translation of Chinese laws and regulations, was regarded as the tools and means of ruling. As the important mean of national governance, the old manchu scripts were developed by Da Hai and not a few Chinese books, such as ''The third Edition of Penal Code'' and ''The Romance of the Three Kingdoms''issued by Emperor Hongwu were translated under the decree of Emperor Taizong, which were used as a reference for planning and advising and military campaigns.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:44, 28 September 2021 (UTC)&lt;br /&gt;
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In other words, Shizu hoped to consolidate the rule of Qing Dynasty with the so-called &amp;quot;orthodox&amp;quot; of Han Dynasty in the Central Plains to whitewash national conquests and oppressions by translating this book. Actually, in the reign of Emperor Taizong, it had existed that the translation of Chinese books, especially the translation of Chinese laws and regulations, was regarded as the tools and means of ruling. As an important mean of national governance, the old manchu scripts were developed by Da Hai and not a few Chinese books, such as ''The third Edition of Penal Code'' and ''The Romance of the Three Kingdoms''issued by Emperor Hongwu were translated under the decree of Emperor Taizong, which were used as a reference for planning and military campaigns.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:01, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081549	詹若萱	女==&lt;br /&gt;
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《表忠录》同样辑自明朝嘉靖年间，实为杨继盛的两部奏疏，即《请诛贼臣疏》和《请罢马市疏》，由汪宗伊撰于明朝万历年间，属吏部传记类。顺治十三年前后，世祖降旨将杨继盛事迹写成《忠愍记》。所谓“忠愍”，即明穆宗因念及杨继盛参劾严嵩之功，誉其为“直谏诸臣之首”，而追赠给后者的谥号。&lt;br /&gt;
The Record of Loyalty was also written from the JiaJing peroid of Ming Dynasty. It was actually consisted of two memorials to throne of Yang JIsheng, namely memorial on killing traitors and memorial on closing the horse market written by Wang Zongyi during the Wanli period of Ming Dynasty. It belonged to official biography. About ShunZhi 13 years, the Emperor Shizu made a decree to write Yang Jisheng’s good deeds into The Record of Zhong Min. The so-called “Zhong Min” referred to the posthumous title given to Yang Jisheng after his death, because Emperor Muzong praised him as “the head of the ministers” for his contribution to impeaching Yan Song.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 02:27, 29 September 2021 (UTC)&lt;br /&gt;
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The Record of Loyalty was also written in the JiaJing peroid of Ming Dynasty. It was actually consisted of two memorials to throne of Yang JIsheng, namely memorial on killing traitors and memorial on closing the horse market written by Wang Zongyi during the Wanli period of Ming Dynasty. It is a kind of official biography. About ShunZhi 13 years, the Emperor Shizu made a decree to write Yang Jisheng’s good deeds into The Record of Zhong Min. The so-called “Zhong Min” referred to the posthumous title given to Yang Jisheng after his death, because Emperor Muzong praised him as “the head of the ministers” for his contribution to impeaching Yan Song.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 13:16, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081553	钟义菲	女==&lt;br /&gt;
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《忠愍记》成书后，世祖御制《表忠录·序》以表彰杨继盛，其中写道：自古贤臣正士效力王家，率授命致身，捐生赴义。迹其所遭，若无厚幸然。&lt;br /&gt;
After the record of Zhong Min was written, the emperor Shizu personally wrote a preface to the record of loyalty to commend Yang Jisheng, which wrote: since ancient times, virtuous officials have devotedly served the emperor family, sacrificing their lives for justice. From what happened, there was no luck.&lt;br /&gt;
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After the Record of Zhong Min was finished, the emperor Shizu personally wrote the Preface to the Record of Loyalty to commend Yang Jisheng, which wrote: since ancient times, virtuous officials and soldiers have devotedly served the loyal family, sacrificing their lives for justice. From what happened to them, there was no luck.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:40, 1 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081554	钟雨露	女==&lt;br /&gt;
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而时过论定，声称振杨，及于代远风遥，流徽弥茂，留连曩迹，如遘其人。是以孟轲有言：“奋乎百世之上，百世之下闻者莫不兴起也”。……顾竭志尽忠者，人臣之谊；善善恶恶者，大道之公。&lt;br /&gt;
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But as time went by, the verdict on Yang Jisheng’s exploits had been reached and he gained considerable fame. When the years have passed, the fame of him spread all around. When people recalled his deeds, it was like meeting him in person. Just as Mencius said, “Those who made themselves distinguished a hundred generations before, and after a hundred generations, some people who heard of them are all aroused in this manner.” ……..Those who were intensely loyal could be harmonious with the ministers; And it was fair to punish the bad and to be kind to the good. --[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:33, 2 October 2021 (UTC)&lt;br /&gt;
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But as time went by, Yang Jisheng’s exploits have been recognized, and he gained considerable fame. The older the years, the more his fame spread. When people recalled his deeds, it was like meeting him in person. Just as Mencius said, “Those who made themselves distinguished a hundred generations before, and after a hundred generations, some people who heard of them are all aroused in this manner.” ……..Those who were intensely loyal could be harmonious with the ministers. And it was fair to punish the bad and to be kind to the good. --[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 13:09, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081555	周玖	女==&lt;br /&gt;
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循省往哲，爱结于中，诚有不能自己者也。朕万机之暇，绎载籍，每览忠孝节义之事，未尝不反复三致意焉。[ 阎崇年校注：《康熙顺天府志》，北京：中华书局，2009年，第482页。]&lt;br /&gt;
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一方面，世祖赞誉杨继盛为忠臣之典范；另一方面，世祖又斥责严嵩为逆臣，认为正是严嵩父子威福专擅，浊乱王家，致使纪纲废断。&lt;br /&gt;
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    Reflecting on predecessors, despite the disloyal, the love to nation was condensed together. I was bombarded with numerous affairs. But  in my spare time, I translated and recorded many books through dictation. When I read books about loyalty, I often analyzed them repeatedly to express my regard. [ Yan Chongnian: Kang Xi Shun Tianfu, Beijing: China Publishing House, 2009, Page 482. ]--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 13:12, 11 October 2021 (UTC)&lt;br /&gt;
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On the one hand, the emperor Shizu acclaimed Yang Jisheng as the paragon of loyal minister. On the other hand, he denounced Yan Song as a traitor, and believing（believed--Chen Xiangqiong(talk) )the fact that Yan Song and his son misused their authorities to domineer and disturb the loyal family so that the law and regulations became slacked.（were broken--Chen Xiangqiong(talk)）&lt;br /&gt;
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==外国语言学及应用语言学	202120081480	陈湘琼	女==&lt;br /&gt;
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世祖敕令翻译此书，目的是为了激励官员学做忠谏之臣，劝勉意味浓厚。毋庸置疑，世祖时期的汉籍翻译秉承的原则也是“实用主义”原则，这一点太祖、太宗时期的汉籍翻译并无本质区别。例如，世祖敕译《诗经》，即有显著的现实意义与政治考量。&lt;br /&gt;
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The Emperor Shunzhi commanded to translate this book for the purpose that officials could be encouraged to become people who dare to tell the truth and give right suggestions to the emperor, which had persuasive and warning meanings by itself. In this period, translation of books from Han dynasty was in fact abiding to the “utilization” principle, which had no difference to translations in the period of Qianlong Emperor and Huang Taiji Emperor. For example , practical significance and political meditation had been considered for Emperor Shunzhi commanding the translation of “Book of Songs”.&lt;br /&gt;
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The Emperor Shunzhi commanded to translate this book to encourage officials to tell the truth and put forward reasonable suggestions, which was of great persuasive meaning.In this period, translation of canons from Han dynasty  actually followed the “utilitarianism” principle, which had no difference to those during the reign of Qianlong Emperor and Huang Taiji Emperor. For example , practical significance and political meditation had been considered for Emperor Shunzhi commanding the translation of “Book of Songs”. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:00, 30 September 2021 (UTC)&lt;br /&gt;
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==外国语言学及应用语言学	202120081492	黄逸妍	女==&lt;br /&gt;
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《清实录·世祖章皇帝实录》中说，顺治十年二月，“上幸内院，披阅翻译《五经》，谕诸臣曰：‘天德王道，备载于书，真万世不易之理也’”。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第9页。]可见，世祖饬令翻译《诗经》之时，其它各经的翻译也在进行，但《五经》中仅有《诗经》一部付梓。《诗经》译毕，世祖也为其御制序文，认为该部作品能使人明性意，崇礼义，“其言之深者，可用于庙堂；言之浅者，可用于身家。以之事君，必忠；以之事父，必孝。&lt;br /&gt;
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According to Records of Qing Dynasty •Records of the Emperor Shizu, in February of the tenth year during the reign of the emperor Shunzhi, &amp;quot;After reading the Five Classics in palace, the emperor contended that morals and natural laws are recorded in these books in extenso, which are tough to reach.&amp;quot; [Revised by Eertai: Records of Qing Dynasty •Records of the Emperor Shizu, Beijing: Zhonghua Publishing House, 1985:9 ] It was clear that the translating of other classics was also proceeding when the emperor Shizu commanded the translation of The Book of Songs while only the latter had been finished among the five classics. When the translation of The Book of Songs came to an end, the emperor Shizu wrote the preface to it himself and remained steadfast in the belief that that work helped to behave with propriety and righteousness. &amp;quot;The book can be used in imperial court from its profound aspect and in average families from its unadorned aspect. Instilled with the belief, the officials would be faithful and the children filial.&lt;br /&gt;
--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 00:44, 29 September 2021 (UTC)&lt;br /&gt;
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According to Records of Qing Dynasty •Records of the Emperor Shizu, in February of the tenth year during the reign of the emperor Shunzhi, &amp;quot;After having a careful perusal of  the Five Classics in adytum, the emperor proclaimed all ministers that morals and natural laws are recorded in these books in extenso, which are tough to reach for all ages.&amp;quot; [Revised by Eertai et al: Records of Qing Dynasty •Records of the Emperor Shizu, Beijing: Zhonghua Publishing House, 1985:9 ] It could be seen that the translating of other classics was also proceeding when the emperor Shizu commanded to  translate The Book of Songs, while only the latter had been finished among the five classics. When the translation of The Book of Songs came to an end, the emperor Shizu wrote the preface to it himself and believed that reading this work would help us to behave with propriety and righteousness. &amp;quot;It can be used in imperial court from its profound aspect and in average families from its unadorned aspect. Instilled with the belief, the officials would be faithful and the children filial.edit--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:12, 30 September 2021 (UTC)&lt;br /&gt;
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==外国语言学及应用语言学	202120081513	马新	女==&lt;br /&gt;
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更可以敦厚人伦，端正教化。”[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第72-73页。]&lt;br /&gt;
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从“教化”的角度思考《诗经》的翻译，既是世祖本人的自觉认识，也是以他为首的统治者在面对稗（bài）官小说盛行，而满洲人竞相翻译时所做的一种调整。正如顺治九年进士、刑科给事中阿什坦指出的那样：学者立志，宜以圣贤为期，读书务以经史为中。&lt;br /&gt;
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&amp;quot;It could also give depth to moral relations, straighten out educational ideas and transform people.&amp;quot; [Ye Shugao: Cultural Policy in the Early Qing Dynasty, Taipei: Daoxiang Publishing House, 2002: 72-73.]&lt;br /&gt;
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It is not only the conscious understanding of Qingshizhu Emperor himself to think about the translation of The Book of Songs from an &amp;quot;Enlightenment&amp;quot; perspective, but also an adjustment made by the rulers at his head faced with the prevalence of Bai-guan novels and Manchurians competing for translation. As pointed out by Ashtan, an advanced scholar in the ninth year of Shunzhi and a supervising censor of Justice,  scholars should aspire to be saints and their reading must focus on classical and historical books.  --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:11, 30 September 2021 (UTC)&lt;br /&gt;
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It could also give depth to moral relations, straighten out educational ideas and transform people.&amp;quot; [Ye Shugao: Cultural Policy in the Early Qing Dynasty, Taipei: Daoxiang Publishing House, 2002: 72-73.]&lt;br /&gt;
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Thinking  about the translation of The Book of Songs from the &amp;quot;Teaching&amp;quot; perspectives is not only the personal understanding of Qingshizhu Emperor himself but also an adjustment made by the rulers at his head faced with the prevalence of Bai-guan novels and Manchurians competing for translation. As pointed out by Ashtan, an advanced scholar in the ninth year of Shunzhi and a supervising censor of Justice, the scholars should aspire to be saints and focus on classical and historical books.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 15:38, 30 September 2021 (UTC)&lt;br /&gt;
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==外国语言学及应用语言学	202120081518	秦建安	女==&lt;br /&gt;
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此外杂书无益之言，必概废之而不睹。则庶乎学业日隆，而邪慝（tè）之心无由而入。近见满洲译书内，多有小说秽言，非惟无益，恐流行渐染，则人心易致于邪慝 。&lt;br /&gt;
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Besides, there is no beneficial words in assorted books which should not be allowed to be published and be viewed.(So they shouldn't be allowed to be published and viewed--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 07:26, 29 September 2021 (UTC)) Then the level of study approximately can be uplifted day by day. Meanwhile, the minds of people will also not be degenerate. Recently I found that the translation of some Manchurian books was full of obscene words which personally was of futility. I am afraid that such transition will be so popular that easily erode people’s thoughts.&lt;br /&gt;
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Revised version:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 13:08, 11 October 2021 (UTC)&lt;br /&gt;
Besides, there is no beneficial words in assorted books.So they shouldn't be allowed to be published and viewed.Then the level of study approximately can be uplifted day by day. Meanwhile, the minds of people will also not be degenerate. Recently I found that the translation of some Manchurian books was full of obscene words which personally was of futility. I am afraid that such transition will be so popular that easily erode people’s thoughts.&lt;br /&gt;
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==外国语言学及应用语言学	202120081522	孙雅诗	女==&lt;br /&gt;
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况圣贤古训，日详究之，犹恐不及，何暇费日时于无用之地？[ 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5339页。]&lt;br /&gt;
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阿什坦的奏章开宗明义，指出读书必以经史为要，必须摒弃杂书，尤其是污言秽语之书，以免贾祸人心。为此，他奏请皇帝对旗人读书严加限制，要求嗣后翻译书籍也应针对“关圣贤义理，古今治乱之书”，对于其它书籍则“概为禁饬，不许翻译”。[ 同上。]&lt;br /&gt;
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What's more,there are many sages and wisdom need to be researched.We are afraid that we don't have enough time to do it in details day by day.So why do we waste our time translating those things?[Revised by Eertai ect.,proofread by Li Xun，Zhao De ect.:''Baqitongzhi·chuji'',Changchun:Northeast Normal University Press,1989,p.5339.]&lt;br /&gt;
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The advice of Ashitan is very clear from the very begining--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:33, 28 September 2021 (UTC),which points that reading should focus on the Confusion classic and history --[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:39, 28 September 2021 (UTC)and abandon those irrelevant books,especially those of dirty words,to get people rid of the obscene thoughts.In order to do this,he advised the emperor be more strict with the Qi people's readings.flag people's learning.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:30, 28 September 2021 (UTC)And he also required his offspring translate books about sages,principles and those can help to govern the society.Besides these books,other books are all forbidden and mustn't be translated.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 11:44, 28 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081530	吴映红	女==&lt;br /&gt;
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这一观点既是他翻译《大学》、《中庸》、《孝经》、《潘氏（通鉴）总论》、《太公家教》的原则与标准，也是太祖朝以来一以贯之的译书宗旨。&lt;br /&gt;
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五 汉籍（书）翻译的文化沟通意涵&lt;br /&gt;
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清初的汉书翻译主要由两部分人员构成：兼通满、汉的旗人（满洲、蒙古、汉军），以及八旗文科举中的举人、进士及第者，特别是顺治朝以来从新科进士中拣选出来学习满文的汉籍士子。&lt;br /&gt;
The opinion is not only the principle and standard of his translation about ‘’University‘’, ‘’the doctrine of the mean‘’,‘ ‘’ the book of filial piety‘’, ‘’the general theory of pan (Tongjian) ‘’and ‘’Taigong family education‘’, but also the consistent purpose of translation from the Taizu Dynasty. &lt;br /&gt;
FIFTH  Cultural communication of Han nationality.&lt;br /&gt;
《大学》''The Great Learning'' --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 28 September 2021 (UTC)&lt;br /&gt;
In the early Qing Dynasty, the translation of Chinese traditional book was mostly composed of two parts: the flag people who knew Manchu and Han (Manchuria, Mongolia and Han Army), as well as the candidates, Jinshi and others in the eight flag liberal arts test, especially the Chinese bechelors who was selected from the new Jinshi to study Manchu from the Shunzhi Dynasty.&lt;br /&gt;
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The opinion is not only the principle and standard of his translation about ‘’Daxue‘’, ‘’Zhongyong‘’,‘ ‘’ Xiaojing‘’, ‘’Genneral Theory(Tongjian) of Pan's Family ‘’and ‘’Taigong Family Education‘’, but also the consistent purpose of translation from the Taizu Dynasty. &lt;br /&gt;
FIFTH  Cultural communication of Han nationality.&lt;br /&gt;
《大学》''The Great Learning'' --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 28 September 2021 (UTC)&lt;br /&gt;
In the early Qing Dynasty, the translation of Chinese traditional book was mostly composed of two parts: the flag people who knew Manchu and Han (Manchuria, Mongolia and Han Army), as well as the candidates, Jinshi and others in the eight flag liberal arts test, especially the Chinese bechelors who was selected from the new Jinshi to study Manchu from the Shunzhi Dynasty.&lt;br /&gt;
--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 12:51, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081560	朱壬铎	男==&lt;br /&gt;
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这些人员既是翻译专才，又是文化接触与交流的实践者，代表了满洲统治阶级想要与汉族之间进行文化沟通的意愿。如顺治六年四月，礼科给事中姚文然以“以满汉同心合力为念。窃思满汉一家，咸思报主”为由，奏请从新科进士内广选庶吉士，令其肄习清书，待精熟之后即授以科、道等官。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第11页。]顺治十年，世祖降旨，对此前所选三科庶吉士进行考试，从中选取“通满洲文义者三人”，“以应升之缺用”，并选取“其次可造者十二人”，“仍照原衔，责令勉力学习，俟再试分别。”[ 同上，第7-8页。]&lt;br /&gt;
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These persons are not only experts in translation,but also practicer in cultral contact and communication,which represented the will,which is to cultrally communicate with the Han people,of the ruling class of Manchu.&lt;br /&gt;
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For example,in April of the sixth year of Shunzhi,Yao Wenran,the inspectorof the department of rites,with the reason that &amp;quot;with the purpose that is combining the Man ethnic and the Han ethnic,I secretly came up with an idea about the Man-Han family but with my whole life for the emperor&amp;quot;,made a request that is to widely select Shujishi from newly selected Jinshi and order them to sutdy the books of Qing Dynasty to get well-learned then teach the bureaucrats from other departments and circuits.[E Ertai et al.write by imperial command:Veritable Records of Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.11]&lt;br /&gt;
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In the tenth year of Shunzhi,Shizong emperor declared an imperial order about examining the selected Shujishi from all three subjects,from which select three persons who are &amp;quot;familiar with the texts of Manchu&amp;quot;,to&amp;quot;fill the vacancy caused by the former Jinshi selection&amp;quot;,and select &amp;quot;another 12 gifted persons&amp;quot;&amp;quot;remain the former title,make them study hard for the further tests and selection.&amp;quot;[E Ertai et al.write by imperial command:Veritable Records of Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.7-8]&lt;br /&gt;
--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 02:47, 29 September 2021 (UTC)&lt;br /&gt;
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These person are not only experts in translation,but also practicers in cultural contact and communication. They represent the will to culturally communicate with the Han people,of the ruling class of Manchu.&lt;br /&gt;
For example,in April of the sixth year of Shunzhi,Yao Wenran,the inspector of the Department of Rites,with the reason that &amp;quot;with the purpose that is combining the Manchu and the Han ethnic,I think both Manchu and Han should hold the thought to requite favours to the emperor,made a request to widely select Hanlin bachelor from newly selected Jinshi(a successful candidate in the highest imperial examinations) and order them to sutdy the books of Qing Dynasty to get well-learned then grant them official positions.[E Ertai et al.write by imperial command:Veritable Records of &lt;br /&gt;
Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.11]&lt;br /&gt;
In the tenth year of Shunzhi, the emperor declared an imperial order about examining the selected Han bachelor of all three subjects,from which select three persons who are &amp;quot;familiar with the texts of Manchu&amp;quot;,to&amp;quot;fill the vacancy caused by the former Jinshi selection&amp;quot;,and select &amp;quot;another 12 gifted persons&amp;quot;&amp;quot;remain the former title,make them study hard for the further tests and selection.&amp;quot;[Idem, p.7-8]&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:10, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081477	蔡珠凤	女==&lt;br /&gt;
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雍、乾、嘉年间，从新科进士中选取习满文者的做法得到延续，但每次选取者人数不一，整体上渐呈下降之势，至道光二十年前后废止，为汉书的满文翻译提供了人力来源，同时也为沟通满、汉两族文化提供了桥梁。&lt;br /&gt;
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事实上，早在太宗时期，由于满人尚居关外，不识汉字，又罔知政体，遂敕达海等翻译汉书，使“满洲臣民未习汉文者，亦能兼通汉书”，而太宗自己也以它们作为“临政规范”，学习汉族的国家治理模式。[ 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5325页。]顺治年间，阿什坦译成《大学》、《中庸》等书后，世祖又以它们作为倡导礼义教化的工具，希望通过此举使“满洲人知崇正学、尚经术”，令“邪说不得行”，而“风俗丕变”。[ 同上。]&lt;br /&gt;
In the years of Yong Zheng , Qian Long and Jia Qing , the practice of selecting Manchu scholars from new scholars continued, but the number of candidates selected each time varied, and the overall trend gradually decreased. It was abolished around the 20th year of Dao Guang, which not only provided a source of manpower resources  for Manchu translation of Hanshu, but also provided a bridge for communication between Manchu and Han cultures.&lt;br /&gt;
In fact, as early as the Taizong period, because the Manchus still lived outside the frontier fortress, did not know Chinese characters and did not know about the regime, they ordered Dahai and other people to translate Chinese books, so that &amp;quot;Manchus who did not learn Chinese could also understand the contents of Chinese books&amp;quot;, and Taizong himself used them as &amp;quot;administration norms&amp;quot; to learn the national governance model of the Han nationality. [Writed by Ertai etc.Checked by Li Xun, Zhao Degui etc.:&amp;quot;Ba Qi Tong Zhi I&amp;quot;, Changchun: Northeast Normal University Press, 1989, P. 5325.] during the reign of Shunzhi, after Ashitan translated the 《University》《Moderate》and other books, Shizu used them as a tool to advocate etiquette and righteousness education, hoping to make &amp;quot;Manchus know and worship orthodox learning and classics&amp;quot; and &amp;quot;heresy can not be carried out&amp;quot; And &amp;quot;Customs change&amp;quot;. [ibid.]&lt;br /&gt;
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In the years of Yong Zheng , Qian Long and Jia Qing , the practice of selecting Manchu scholars from new scholars was continued, but the number of candidates selected each time varied, and the overall trend gradually tended to decrease. It was abolished around the second decade of Dao Guang, which not only provided human resources for Manchu translation of the Han books, but also builded the bridge of cultural communication between Manchu and Han.&lt;br /&gt;
In fact, as early as the the Emperor Taizong period, because the Manchu who still lived outside shanhaiguan pass, did not know Chinese characters and the regime,Taizong ordered Dahai and others to translate the Han books, so that &amp;quot;Manchus who did not learn Chinese could also understand the Han books&amp;quot;, and Taizong himself also used them as &amp;quot; the administration norms&amp;quot; to learn the national governance model of the Han nationality. [Written by Ertai etc.Checked by Li Xun, Zhao Degui etc.:&amp;quot;Ba Qi Tong Zhi I&amp;quot;, Changchun: Northeast Normal University Press, 1989, P. 5325.] During the reign of Shunzhi, after Ashitan translated the &amp;quot;University&amp;quot;&amp;quot;Moderate&amp;quot;and other books,Hong Taiji used them as the tool to advocate confucian code of ethics , hoping to make &amp;quot;Manchus know and worship orthodox learning and classics&amp;quot; and &amp;quot;heresy can not be carried out&amp;quot; and &amp;quot;Customs change&amp;quot;. [ibid.]--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 02:40, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081486	付诗雨	女==&lt;br /&gt;
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显然，汉文经、史的译印有助于端正满洲的人心风俗，使满、汉文化互通有无，即便是《诗经》中提到的各种花草树木、鸟兽虫鱼，也对拓展满人见闻甚有助益。[ 叶高树：《&amp;lt;诗经&amp;gt;满文译本比较研究——以&amp;lt;周南&amp;gt;、&amp;lt;召南&amp;gt;为例》，《国立台湾师范大学历史学报》1992年第20期。]有清一代，并非只有官方组织汉书的翻译，私人译书也很盛行。但官方译书与私人译书不同，无论是在译书的取材上，还是在译书的组织管理上，抑或是译书的颁行上，都有其特殊的考量。&lt;br /&gt;
Obviously,the translation and printing of the classics and history of Han are conductive to correcting the humanity and customs of Manchuria,and exchanging of needed culture between Manchu and Han.Even different kinds of flowers and trees, insects and fish, which were mentioned in ''the Book of Songs'', also contribute to enrich their knowledge.[Ye Gaoshu:&amp;quot;''Comparative Study of the Manchu translation for 'the book of songs'--Taking  'Zhounan' 'Shannan' as example&amp;quot;,&amp;quot;The Histotrical Journal of National Taiwan Normal University''&lt;br /&gt;
&amp;quot;1992;No.20.]In the Qing Dynasty, not only the official organization of the Han Books' translation, private translation was also very popular. However, unlike the private translation, the official translation was considered specially, whether in the materials of translation, the organization and management of the translation, or the publishment of the translation.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 15:16, 28 September 2021 (UTC)&lt;br /&gt;
Obviously,the translation and printing of the classics and history of chinese are conductive to correcting the morality and customs of Manchuria,and exchanging of needed culture between Manchu and Han.Even different kinds of flowers and trees, insects and fish, which were mentioned in &amp;quot;the Book of Songs&amp;quot;, also contribute to enrich their knowledge.[Ye Gaoshu:&amp;quot;Comparative Study of the Manchu translation for 'the book of songs'--Taking 'Zhounan' 'Shannan' as the example&amp;quot;,&amp;quot;The Histotrical Journal of National Taiwan Normal University &amp;quot;1992;No.20.]In the Qing Dynasty, not only the official organization of the Han Books' translation, private translation was also very popular. However, unlike the private translation, the official translation was considered specially, whether in the materials,the organization,the management or the publishment of the translation.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:05, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081559	周小雪	女==&lt;br /&gt;
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即便是《三国志（通俗演义）》这样的通俗文学作品，译成满文后也被赋予了严肃的兵法与战略意义。以满文遍译汉书，尤其是经、史、子、集等书，并不是为了显示满语语文系统的优越性，所谓“精微巧妙，实小学家所未有”，而是为了“表章经学，天下从风”，通过汉籍的翻译“研究微言，讲求古义”，进行文化沟通。[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第91页。]藉由汉文典籍的翻译，满洲统治者不仅了解了汉族文化，而且在接触与学习中获得了“统制”汉民的重要经验，使满洲政权在性质上逐渐向“中原政权”转化，并实现“治统”与“道统”的和谐统一。&lt;br /&gt;
Even popular literature such as The History of the Three Kingdoms was given serious military and strategic significance when translated into Manchu script. The  purpose of translating Chinese books with Manchu script ,especially Canon ,History,Philosophy and Literature such book is not to show the superiority of the Manchu language system,but to show the confucian classics。Through the translation of Chinese  classics ,study small points ,emphasize the ancient significance and carry out cultural communication.Ye Gaoshu.Cultural Policy in the early Qing Dynasty.Taipei:Rice Village Press,2002,p.91.Through the translation of Chinese classics,Manchu rulers not only understood the Han culture,but also gained important experience of controlling the Han people in the process of contact and learning,so that Manchu regime gradually transformed into central plains regime in nature and realized the unity of regnant orthodoxy and confucian orthodoxy.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:08, 29 September 2021 (UTC)&lt;br /&gt;
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Modifying canon, history, philosophy and literature to Confusion classics, history, pre Qin hundred works, religion and classical writings.因为经：经书，是指儒家经典著作；史：史书，即正史；子：先秦百家著作，宗教；集：文集，即诗词汇编。泛指我国古代典籍。Canon, history, philosophy and literature did not express the exact meaning.&lt;br /&gt;
--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 01:41, 29 September 2021 (UTC)&amp;quot;表章经学，天下从风”The first half of the sentence is not translated accuratelyand the second half of the sentence has not been translated，so I think it should be translated into &amp;quot;Commend Confucian classics and let people all over the world follow&amp;quot;&lt;br /&gt;
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==日语语言文学	202120081562	邹岳丽	女==&lt;br /&gt;
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结语&lt;br /&gt;
清初之际，虽然国家尚未实现从“征服王朝”向“中原王朝”的转变，但统治者在致力于武力开拓的同时，也开始关注文化活动。一方面，统治者念念不忘“国语骑射”的满洲旧制，将其视作立国精神；另一方面，又积极组织汉书翻译，倡导汉文化精神，从中原儒学中探求君主治术，构建国家的治统与道统。汉书翻译不仅让统治者得以接触汉族思想精粹和政治观念，而且让其在了解汉文经典与汉族文化的过程中，学习历代帝王的执政得失，以及古往今来的兴废事迹，从中汲取治国经验。&lt;br /&gt;
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Conclusion At the beginning of the Qing Dynasty, although the country has not yet realized the transformation from &amp;quot;conquering Dynasty&amp;quot; to &amp;quot;Central Plains Dynasty&amp;quot;，however, while the rulers were committed to the development of force, they also began to pay attention to cultural activities. On the one hand, the rulers never forget the old Manchu system of &amp;quot;national language riding and shooting&amp;quot; and regarded it as the spirit of founding the country;On the other hand, --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)he actively organized the translation of Chinese calligraphy, advocated the spirit of Chinese culture, explored the rule of monarchy from the Confucianism of the Central Plains, and constructed the rule and orthodoxy of the country.Chinese translation not only allows the rulers to get in touch with the  &lt;br /&gt;
ideological essence and political concepts of the Han nationality, but also allows them to learn from the ruling gains and losses of emperors and the rise and fall deeds from ancient to modern times in the process of understanding Chinese classics and Han&lt;br /&gt;
culture, so as to learn from the experience of governing the country. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)from the experience of governing the country.   “here the preposition from should be deleted--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)&lt;br /&gt;
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however, while the rulers were committed to expansion by military force.&lt;br /&gt;
国语骑射：Manchu language, horse-riding and archery--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 01:49, 3 October 2021 (UTC)&lt;br /&gt;
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   &lt;br /&gt;
                                                                             --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC) ( here &amp;quot;he&amp;quot; is not consistant with the subjective &amp;quot;the rulers&amp;quot;, so &amp;quot;he&amp;quot; should be changed in to &amp;quot;they&amp;quot; )&lt;br /&gt;
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==国别	202120081478	曾俊霖	男==&lt;br /&gt;
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概言之，汉书的翻译既匡扶了社稷，又教化了臣民，令满、汉文化之间的交流得以开启并加深。虽然清初三朝期间，汉书翻译的规模不一，统治者对于汉族文化的具体态度存在差异，但翻译的原则与标准基本未变，那便是以文治教化和典章制度为主，通过翻译汉族典籍，凝聚符合国家需求的集体价值观，并将汉族传统文化落实为国家治理的大政方针，实现兴文教、崇经术、开太平的治国理念。&lt;br /&gt;
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In short, the translation of books of Han nationality not only helped the whole country, but also educated his people so that the cultural exchange between Manchu and Han can be opened and deepened. During the three dynasties of the early Qing Dynasty, the scale of books of Han nationality translation was different, and the rulers' specific attitudes towards Han culture were different, but the principles and standards of translation remained basically unchanged, which focused on cultural education and the system of laws and regulations, condensed the collective values in line with the national needs through the translation of Han classics, and implemened the Han traditional culture as the major policy of national governance, realized the governing concept of promoting culture and education, advocating studies of Confucian classics and opening up peace.&lt;br /&gt;
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In short, the translation of Books of Han not only gave great help to the whole country, but also educated its(the Qing Dynasty) people so that it began and then deepened the cultural exchange between Manchu and Han. During the first three emperors' rulings of the early Qing Dynasty, though the scales of translation was different, and the rulers' specific attitudes towards Han culture differed from each other, the principles and standards of translation remained basically unchanged, that is to say, it will focus on cultural education and the system of laws and regulations, condense the collective values in line with the national needs through the translation of Han classics, and implement the Han traditional culture as the major policy of national governance to realize the governing concept of promoting culture and education, advocating studies of Confucian classics and opening up peace.&lt;br /&gt;
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 08:19, 29 September 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==国别	202120081493	黄柱梁	男==&lt;br /&gt;
Footnotes and References&lt;br /&gt;
&lt;br /&gt;
1  杨家骆：《金史》，台北：鼎文书局，1985年，第1684页。&lt;br /&gt;
&lt;br /&gt;
2  明珠等奉敕修：《清实录·太祖高皇帝实录》，北京：中华书局，1986年，第2页。&lt;br /&gt;
&lt;br /&gt;
3  中国第一历史档案馆、中国社科院历史研究所译注：《满文老档》，北京：中华书局，1990年，第1196页。&lt;br /&gt;
&lt;br /&gt;
4  鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第13页。&lt;br /&gt;
&lt;br /&gt;
5  王钟翰点校：《清史列传》，北京：中华书局，1987年，第187页。&lt;br /&gt;
&lt;br /&gt;
6  国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第38页。&lt;br /&gt;
&lt;br /&gt;
1. Yang Jialuo, ''History of the Jin Dynasty''(1115-1234), Taipei, Dingwen Book Company, 1985, pp.1684.&lt;br /&gt;
&lt;br /&gt;
2. Ming Zhu et al. (compiled under the order of Emperor Kangxi ), ''the Imperial Archives of Emperor Taichu(1559-1626, posthumous titled Gao Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1986, pp.2. &lt;br /&gt;
&lt;br /&gt;
3. The First Historical Archives of China, Translated and Noted by the Institute of History in Chinese Academy of Social Sciences, ''Old Documents of Manchu Script'', Peking, Zhonghua Book Company, 1990, pp.1196.&lt;br /&gt;
&lt;br /&gt;
4. E Ertai et al. (compiled under the order of Emperor Yongzheng ), ''the Imperial Archives of Emperor Taizong(1592-1643, posthumous titled Wen Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1985, pp.13.&lt;br /&gt;
&lt;br /&gt;
5. Proofread by Wang Zhongshan, ''Biographies of the Qing Dynasty'', Peking, Zhonghua Book Company, 1987, pp.187.&lt;br /&gt;
&lt;br /&gt;
6. Committee of National History Compilation, ''the Imperial Archives of Joseon Dynasty'', Seoul, Committee of National History Compilation, 1973, pp.38.&lt;br /&gt;
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 08:18, 29 September 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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1 页码标记应为p.1684.&lt;br /&gt;
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2 posthumous titled Gao Huang Di应改为posthumously titled Gao Huang Di,页码标记为p.2.&lt;br /&gt;
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3“老满文”指的是清太祖努尔哈赤时期创制的满文，以文字中没有圈和点为特点。《满文老档》即是用老满文写成的档案汇编 ，所以《满文老档》应为 ''Manchu Archives written in Fore Manwen'',页码标记为p.1196.&lt;br /&gt;
&lt;br /&gt;
4 同第二句，posthumous titled Wen Huang Di改为posthumously titled Wen Huang Di, 页码标记为p.13.&lt;br /&gt;
&lt;br /&gt;
5 页码标记为p.187.&lt;br /&gt;
  &lt;br /&gt;
6 页码标记为p.38.&lt;br /&gt;
--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:20, 1 October 2021 (UTC)Liu Wei&lt;br /&gt;
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==国别	202120081507	刘薇	女==&lt;br /&gt;
7  国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第62页。&lt;br /&gt;
&lt;br /&gt;
8  叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第58页。&lt;br /&gt;
&lt;br /&gt;
9  鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第10页。&lt;br /&gt;
&lt;br /&gt;
10 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。&lt;br /&gt;
&lt;br /&gt;
11 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第14页。&lt;br /&gt;
&lt;br /&gt;
12 同上，第2页。&lt;br /&gt;
&lt;br /&gt;
7 National History Compilation Committee, ''Records of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, p.62.&lt;br /&gt;
&lt;br /&gt;
8 Ye Gaoshu,'' Cultural policise in the early Qing Dynasty'', Taipei: Daoxiang press, 2002, p.58.&lt;br /&gt;
&lt;br /&gt;
9 E Ertai et al.(compiled  by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.10.&lt;br /&gt;
&lt;br /&gt;
10 Luo Zhenyu, ''Collections of secretary's memorial to the throne during the reign of Tencong'', Beijing: Renmin University of China Press, 1989, p.2.&lt;br /&gt;
&lt;br /&gt;
11 E Ertai et al.(compiled  by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.14.&lt;br /&gt;
&lt;br /&gt;
12 Ertai et al.(compiled  by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.2.        &lt;br /&gt;
--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:23, 28 September 2021 (UTC)Liu wei&lt;br /&gt;
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7 National Institute of Korean History, ''Records of the Korean Dynasty'', Seoul: National Institute of Korean History, 1973, p.62.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 11 October 2021 (UTC)&lt;br /&gt;
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==国别	202120081537	颜莉莉	女==&lt;br /&gt;
13 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第24-25、115页。&lt;br /&gt;
&lt;br /&gt;
14 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第9页。&lt;br /&gt;
&lt;br /&gt;
15 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。&lt;br /&gt;
&lt;br /&gt;
16 同上，第82页。&lt;br /&gt;
&lt;br /&gt;
17 清高宗敕纂：《八旗满洲氏族通谱》，沈阳：辽沈书社，1989年，第10页。&lt;br /&gt;
&lt;br /&gt;
18 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第15-16页。&lt;br /&gt;
&lt;br /&gt;
13th. Lou Zhenyu: ''Tiancongchao Chengong Zouyi'' , Beijing:  China People's University Press, 1989, pp.24-25,115.&lt;br /&gt;
&lt;br /&gt;
14th. E Ertai eat al revised under order of emperor: ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, p.9&lt;br /&gt;
&lt;br /&gt;
15th. Lou Zhenyu: ''Tiancongchao Chengong Zouyi'' , Beijing:  China People's University Press, 1989, p.2&lt;br /&gt;
&lt;br /&gt;
16th. Idem&lt;br /&gt;
&lt;br /&gt;
17th. Qing emperor Gaozong ordered to write: ''General spectrum of Manchu clan in eight banners'', Shenyang: Liaoshen Book Company, 1989,p.10&lt;br /&gt;
 &lt;br /&gt;
18th. E Ertai eat al revised under order of emperor: ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, pp.15-16&lt;br /&gt;
  &lt;br /&gt;
      &lt;br /&gt;
14. E Ertai eat al （eds. on the order of emperor): ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, p.9&lt;br /&gt;
&lt;br /&gt;
16. Idem, p.82&lt;br /&gt;
 &lt;br /&gt;
17. Qing emperor Gaozong ordered to write: ''Genealogy of Manchu clan in eight banners'', Shenyang: Liaoshen Book Company, 1989,p.10&lt;br /&gt;
&lt;br /&gt;
18. E Ertai eat al （eds. on the order of emperor): ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, pp.15-16&lt;br /&gt;
&lt;br /&gt;
==国别	202120081538	颜子涵	女==&lt;br /&gt;
19 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第13页。&lt;br /&gt;
&lt;br /&gt;
20 中国第一历史档案馆编：《清初内国史院满文档案译编·顺治朝》，北京：光明日报出版社，1989年，第80页。&lt;br /&gt;
&lt;br /&gt;
21 阎崇年校注：《康熙顺天府志》，北京：中华书局，2009年，第482页。&lt;br /&gt;
&lt;br /&gt;
22 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第9页。&lt;br /&gt;
&lt;br /&gt;
23 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第72-73页。&lt;br /&gt;
&lt;br /&gt;
24 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5339页。&lt;br /&gt;
 &lt;br /&gt;
19. Ortai and some people compiled it on the orders of the emperor:  ''Records of emperor shizuzhang in the Qing Dynasty'', Beijing: China Book Company, 1989, p.13.&lt;br /&gt;
&lt;br /&gt;
20. Editor of China's First Historical Archives: ''Translation of manchu archives of the National Historical Institute of the early Qing Dynasty, Shunzhi Dynasty'', Beijing: Guangming Daily Press, 1989, p.80.&lt;br /&gt;
&lt;br /&gt;
21. Yan Chongnian made proofreading:  ''Kangxi Shuntian Fuzhi'', Beijing: China Book Company, 2009, p.482.&lt;br /&gt;
&lt;br /&gt;
22. Ortai and some people compiled it on the orders of the emperor: ''Records of emperor shizuzhang in the Qing Dynasty'', Beijing: China Book Company ,1989,p.9.&lt;br /&gt;
&lt;br /&gt;
23.Kao-Shu Yeh,  ''Cultural policy in the early Qing Dynasty'', Taipei:Daoxiang Press, 2002, pp. 72-73.&lt;br /&gt;
&lt;br /&gt;
24. Ortai and some people compiled，Li Wei, Zhao Degui and others proofread: ''Journal of the eight banners •First Episode'', Changchun: Northeast Normal University Press, 1989, p. 5339.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
19. E,Ertai et al. (eds. under the order of the Emperor). ''An Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty'', Beijing:Zhonghua Book Company,1985,p.13.&lt;br /&gt;
&lt;br /&gt;
20. The First Historical Archives of China(ed.). ''A translation of Manchu archives of the Imperial Academy of National History in the Shunzhi Period of the early Qing Dynasty'', Beijing: Guangming Daily Press, 1989, p.80.&lt;br /&gt;
&lt;br /&gt;
21. Yan Chongnian(proofread). ''The History of Shuntian of Emperor Kangxi'', Beijing: China Book Company, 2009, p.482.&lt;br /&gt;
&lt;br /&gt;
22. E,Ertai et al. (eds. under the order of the Emperor). ''An Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty'', Beijing:Zhonghua Book Company,1985,p.9.&lt;br /&gt;
&lt;br /&gt;
23. Kao-Shu Yeh, ''The Cultural Policies of the Early Qing Dynasty'', Taipei:Daoxiang Press, 2002, pp. 72-73.&lt;br /&gt;
&lt;br /&gt;
24. E,Ertai et al.(eds.), Li,Xun&amp;amp;Zhao Degui et al.(proofread). ''The First Collectanea in Ba Qi Tong Zhi'', Changchun:Northeast Normal University Press,1989, p.5339.&lt;br /&gt;
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==国别	202120081540	阳佳颖	女==&lt;br /&gt;
25 同上。&lt;br /&gt;
&lt;br /&gt;
26 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第11页。&lt;br /&gt;
&lt;br /&gt;
27 同上，第7-8页。&lt;br /&gt;
&lt;br /&gt;
28 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5325页。&lt;br /&gt;
&lt;br /&gt;
29 同上。&lt;br /&gt;
&lt;br /&gt;
30 叶高树：《&amp;lt;诗经&amp;gt;满文译本比较研究——以&amp;lt;周南&amp;gt;、&amp;lt;召南&amp;gt;为例》，《国立台湾师范大学历史学报》1992年第20期。&lt;br /&gt;
&lt;br /&gt;
31 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第91页。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[25] Idem&lt;br /&gt;
&lt;br /&gt;
[26] Ertai et al. (eds. under the order of the Emperor). &amp;quot;Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty&amp;quot;, Beijing:Zhonghua Book Company,1985,p.11.&lt;br /&gt;
&lt;br /&gt;
[27] Idem,pp.7-8.&lt;br /&gt;
&lt;br /&gt;
[28] E,Ertai et al.(eds.), Li,Xun&amp;amp;Zhao Degui et al.(proofread). ''The First Collectanea in Ba Qi Tong Zhi'', Changchun:Northeast Normal University Press,1989, p.5325.&lt;br /&gt;
&lt;br /&gt;
[29] Idem&lt;br /&gt;
&lt;br /&gt;
[30] Ye,Gaoshu. “The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan”.''Historical Inquiry of the National Taiwan Normal University'',no.20(1992).&lt;br /&gt;
&lt;br /&gt;
[31] Ye,Gaoshu. ''The Cultural Policies of the Early Qing Dynasty''. Taipei:Daoxiang Press,2002,p.91.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:16, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[25] Idem&lt;br /&gt;
&lt;br /&gt;
[26] E,Ertai et al. (eds. under the order of the Emperor). &amp;quot;''Actual Record of Shih Tsu Fu Lin in Factual Record of Tsing Dynasty''&amp;quot;, Beijing: China publishing house,1985,p.11.&lt;br /&gt;
&lt;br /&gt;
[27] Idem,p.7-8.&lt;br /&gt;
&lt;br /&gt;
[28] Ertai et al.(eds.), Li,Xun &amp;amp; Zhao Degui et al.(proofread). &amp;quot;''General History of the Eight Banners''&amp;quot;, Changchun: Northeast Normal University Press,1989, p.5325.&lt;br /&gt;
&lt;br /&gt;
[29] Idem&lt;br /&gt;
&lt;br /&gt;
[30] Ye,Gaoshu. &amp;quot;''The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan.''&amp;quot;, Bulletin of Historical Research of National Taiwan Normal University, No.20(1992).&lt;br /&gt;
&lt;br /&gt;
[31] Ye,Gaoshu. &amp;quot;''The Cultural Policies of the Early Tsing Dynasty''&amp;quot;. Taipei: Daoxiang Publishing House,2002,p.91. --Ye Weijie&lt;br /&gt;
&lt;br /&gt;
=Hongloumeng=&lt;br /&gt;
HERE STARTS A NEW TRANSLATION: REST OF CHAPTER 19 OF HONGLOUMENG&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] etc.&lt;br /&gt;
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==国别	202120081544	叶维杰	男==&lt;br /&gt;
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第十九回 ... 这些丫头们明知宝玉不讲究这些；二则李嬷嬷已是告老解事出去的了，如今管不着他们：因此只顾玩笑，并不理他。那李嬷嬷还只管问：“宝玉如今一顿吃多少饭？什么时候睡觉？”丫头们总胡乱答应。有的说：“好个讨厌的老货！” 李嬷嬷又问道：“这盖碗里是酪，怎么不送给我吃？”说毕，拿起就吃。一个丫头道：“快别动，那是说了给袭人留着的，回来又惹气了。你老人家自己承认，别带累我们受气。”李嬷嬷听了，又气又愧，便说道：“我不信他这么坏了肠子。别说我吃了一碗牛奶，就是再比这个值钱的，也是应该的。难道待袭人比我还重？难道他不想想怎么长大了？我的血变了奶，吃的长这么大，如今我吃他碗牛奶，他就生气了？我偏吃了，看他怎么着！你们看袭人不知怎么样，那是我手里调理出来的毛丫头，什么阿物儿！”一面说，一面赌气把酪全吃了。&lt;br /&gt;
&lt;br /&gt;
Chapter XIX...These girls' busy joking with each other and not much cared about Nanny Li as they previously knew Pao'yue was not particular about these, and there's no room left for Nanny Li to discipline them for she's already be dismissed. While Nanny Li kept asking:“ How's Pao-yue's appetite these day? And the time he make rest?” Always with so less careness girls reply. Some complained:“Aye! Such an old nosy lady!” Still Nanny Li asked：“A bowl of cheeze here! Why don't you bring it to me?”Then she directly grabbed some to her mouth. One girl hurriedly said:“Quit it! That's what Pao'yue reserved for Xiren! You take the blame yourself if he gets discontented, don't get us involved.” Angry but ashamed also Nanny Li went, and said:“I don't believe it！I even deserve something more valuable, let alone a bowl of milk! Is Xi'ren more important than me? Pao'yue can't be this heartless! Think about it, I myself raised him up this good step by step heart and soul with my own blood! How can he get discontented merely because of a bowl of milk? Still I'm gonna take it, even if he did! And Xi'ren? I taught her everything! Mad at me? Don't be ridiculous!”Nagging, Nanny Li emptied the whole bowl.&lt;br /&gt;
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Chapter XIX...These maids knew clearly that Baoyu didn't care the trifles. Furthermore, Mammy Li was already retired and she had no control over them. Therefor she just ignored him in her teasing. Mammy Li always asked:&amp;quot;How many meals did Baoyu eat recently? When did he go to bed?&amp;quot; The maids'answers always were irrelevant. Some of them said:&amp;quot;What a nasty old woman!&amp;quot; While Mammy Li kept asking :&amp;quot;There is some cheese in the bowl. Why don't you give me?&amp;quot; As soon as the voice fell down, she grabbed the cheese and had it.  One maid hurriedly said:“Quit it! That's what Baoyu reserved for Xiren! You take the blame yourself and  don't get us involved.” Angry but ashamed also Mammy Li was, and said:“I don't believe he has such a bad temper！I even deserve something more valuable, not to mention a bowl of milk! Is Xi'ren more important than me? Think about it, I raised him up by my breast nursing with my own blood! How can he get discontented merely because of a bowl of milk? Still I'm gonna take it, even if he would! And Xiren? That's me who taught her everything! Mad at me? Don't be ridiculous!”Nagging, Mammy Li emptied the whole bowl.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:29, 2 October 2021 (UTC)&lt;br /&gt;
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Chapter XIX ... these servant-girls were well aware that Precious Jade was not particular in these respects, and that in the next place Nanny Plum，having pleaded old age, resigned her place and gone home，had nowadays no control over them，so that they simply gave their minds to romping and joking，and paid no heed whatsoever to her. Nanny Plum however still kept on asking about Precious Jade，&amp;quot;How much rice do you now eat at one meal? And at what time do you go to sleep?&amp;quot; to which questions the servant-girls replied quite at random；some of those being there observed: &amp;quot;What a dreadful despicable old thing she is!&amp;quot; - &amp;quot;In this covered bowl,&amp;quot; she continued to inquire, &amp;quot;is cream, and why not give it to me to eat?&amp;quot; and having concluded these words，she took it up there and then began eating it.&amp;quot; Be quick，and leave it alone!&amp;quot; a servant-girl expostulated，&amp;quot;that，she said, was kept in order to be given to Aroma, and on his return，when he again gets into a huff，you，old lady，must，on your own motion，confess to having eaten it，and not involve us in any way as to have to bear his resentment.&amp;quot; Nanny Plum，at these words，felt both angry and ashamed. &amp;quot;I can't believe，&amp;quot; she forthwith remarked，&amp;quot;that he has become so bad at heart！Not to speak of the milk I've had. I have，in fact every right to even something more expensive than this；for is it likely that he holds Aroma dearer than myself？ It can't forsooth be that he doesn't bear in mind how that I've brought him up to be a big man，and how that he has eaten my blood transformed into milk and grown up to this age！and will be because I'm now having a bowl of milk of his be angry on that score！I will，yes，eat it，and we'll see what he'll do！I don't know what you people think of Aroma，but she was a lowbred girl，whom I've with my own hands raised up! And what fine object indeed was she！&amp;quot;As she spoke，she flew into a temper, and taking the cream, she drank the whole of it.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:02, 11 October 2021 (UTC)Zhang Yang&lt;br /&gt;
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==国别	202120081551	张扬	男==&lt;br /&gt;
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又一个丫头笑道：“他们不会说话，怨不得你老人家生气。宝玉还送东西给你老人家去，岂有为这个不自在的？”李嬷嬷道：“你也不必装狐媚子哄我，打量上次为茶撵茜雪的事我不知道呢！明儿有了不是，我再来领。”说着，赌气去了。&lt;br /&gt;
少时，宝玉回来，命人去接袭人。只见晴雯躺在床上不动，宝玉因问：“可是病了？还是输了呢？”秋纹道：“他倒是赢的，谁知李老太太来了，混输了，他气的睡去了。”宝玉笑道：“你们别和他一般见识，由他去就是了。”&lt;br /&gt;
说着，袭人已来，彼此相见。袭人又问宝玉何处吃饭，多早晚回来；又代母、妹问诸同伴姊妹好。一时换衣卸妆。宝玉命取酥酪来，丫鬟们回说：“李奶奶吃了。”宝玉才要说话，袭人便忙笑说道：“原来留的是这个，多谢费心。前儿我因为好吃，吃多了，好肚子疼，闹的吐了，才好了。他吃了倒好，搁在这里白糟蹋了。我只想风干栗子吃，你替我剥栗子，我去铺炕。”&lt;br /&gt;
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Another servant-girl grinned:“They don’t know how to speak properly, and it’s no wonder you old lady should get angry. Precious Jade still sends you great things, and it’s impossible that he will feel uncomfortable for a thing like this.” “You don’t have to act like a vixen to cajole me!” Nanny Plum said, “You think I’m not aware that you pushed Snow Alizarin away on account of a cup of tea the other day? And if I did make a mistake, I’ll come by and admit it!” Having said this, she went off, pissed off.&lt;br /&gt;
Soon Precious Jade came back and gave orders to go and fetch Aroma. Seeing Sunny Cloud Formation lying perfectly still on bed, Precious Jade asked:“ Is she ill? Or has she lost at cards?” “She had been a winner,” Autumn Vein answered,“but Nanny Plum came and muddled her so that she lost, and angry at that she rushed off to sleep,” Precious Jade smiled:“Don’t place yourselves on the same footing as nanny Plum. Leave her alone.”Aroma came as Precious Jade was saying his words. After the mutual salutations, Aroma went on to ask of Precious Jade:“ Where did you have your dinner? And when did you come back?” and to present likewise on behalf of her mother and sisters her salutations to all the girls, who were her companions. In a short while, she changed her costume and washed off her make up. When Precious Jade bade them fetch the cream, the servant-girls answered:“ Nanny Plum has eaten it.” And as Precious Jade was on the point of making some remarks Aroma hastened to interfere, laughing:“ Is it really this that you have kept for me? Many thanks for troubling. The other day when I ate some of it, I found it very tasty and had a lot of it, then I got a pain in the stomach. I was so upset that it was only after I had thrown it all up that I feel right. So it's fine that she has had it. If it had been kept there, it would have been wasted all for no use. What I want are dry chestnuts, and if you can clean a few for me, I'll go and lay the bed.&amp;quot;&lt;br /&gt;
--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:58, 29 September 2021 (UTC)Zhang Yang&lt;br /&gt;
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Another servant-girl grinned, “They don’t know how to talk properly, and no wonder you, old lady, get angry. Precious Jade still sends you great things, and it’s no need to be unpleased with it.” “You don’t have to cheat me!” Nanny Plum said, “You think I’m not aware that you sent Snow Alizarin away just on account of a cup of tea the other day? I will get it when it is prepared well tomorrow!” Having said this, she went off with sulks. Soon Precious Jade came back and asked someone to pick up Aroma. Seeing Sunny Cloud Formation lying still on bed, Precious Jade asked, “ Is she ill? Or has she lost at cards?” “She had been a winner,” Autumn Vein answered,“but Nanny Plum came and muddled her, so she lost the game and rushed off to sleep for the anger.” Precious Jade smiled, “Don’t take it serious and just leave her alone.”Aroma came as Precious Jade was saying his words. After the mutual salutations, Aroma went on to ask Precious Jade about the place for dinner and the time he would come back, then greet everyone on behalf of her mother and sisters. In a short while, she changed her costume and washed off her make-up. When Precious Jade asked one to fetch the cream, the servant-girls answered,“ Nanny Plum has taken it.” As Precious Jade was on the point of saying something, Aroma laughing, “ Is it this that you have kept for me? Thanks for troubling. The other day when I ate some of it, I found it very tasty and had a lot of it, then I got a pain in the stomach. It was better that she did so, for at least it is not wasted before getting bad. I just want some drying chestnuts. Could you please peel them while I will make the beds.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:23, 29 September 2021 (UTC)&lt;br /&gt;
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==国别	202020080595	陈静	女==&lt;br /&gt;
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宝玉听了，信以为真，方把酥酪丢开，取了栗子来，自向灯下检剥。一面见众人不在房中，乃笑问袭人道：“今儿那个穿红的是你什么人？”袭人道：“那是我两姨姐姐。”宝玉听了，赞叹了两声。袭人道：“叹什么？我知道你心里的缘故，想是说他那里配穿红的？”宝玉笑道：“不是，不是。那样的人不配穿红的，谁还敢穿？我因为见他实在好的很，怎么也得他在咱们家就好了。”袭人冷笑道：“我一个人是奴才命罢了，难道连我的亲戚都是奴才命不成，定还要拣实在好的丫头才往你们家来？”宝玉听了，忙笑道：“你又多心了。我说往咱们家来，必定是奴才不成，说亲戚就使不得？”袭人道：“那也般配不上。”&lt;br /&gt;
宝玉便不肯再说，只是剥栗子。袭人笑道：“怎么不言语了？想是我才冒撞冲犯了你？明儿赌气花几两银子，买进他们来就是了。”&lt;br /&gt;
宝玉笑道：“你说的话，怎么叫人答言呢？我不过是赞他好，正配生在这深宅大院里，没的我们这宗浊物倒生在这里。”&lt;br /&gt;
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Hearing this, Precious Jade fell for it and throw the curds away, taking some chestnuts and then peeling them under the lantern. Finding others not in the room except Aroma, Precious Jade quipped: “Who is the the person in red today?” Aroma answered, “Two of my cousins”. Knowing it, Precious Jade couldn’t repress a sigh of admiration. “What do you sigh for? I know it is because they could not wear red.” Aroma said. Precious Jade replied with smile: “No! Who dares to wear red if such persons doesn't deserve it? I just admire them and hope if they can stay in our home.” Aroma sneered, “I am just a slave. So all of my families are slaves and we should pick up the best girls to be slaves in your home?” Precious Jade said with smile, “Don’t be touchy. It doesn’t mean to be the slave but to be our relatives in our house.” Aroma replied, “It doesn’t match, either.” Precious Jade refused to say any more, but just peeled chestnuts. Aroma smiled and said, “Why are you silent? I just offended you. You could spend some money and buy them if you want.” Precious Jade smiled and said, “How to respond to your words. I just show my admiration and think they should be in such circumstance where the persons like me live.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 29 September 2021 (UTC)&lt;br /&gt;
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Hearing this, Master Bao fell for it, threw the curds away, took some chestnuts and then peeled them under the lantern. Finding others not in the room except Aroma, Master quipped: “What’s the relationship between you and the person in red today?” Aroma answered, “Two of my cousins”. Knowing it, Master Bao couldn’t repress a sigh of admiration. “What do you sigh for? I know what you are thinking. You must think they don’t deserve to wear red.” Aroma said. Master Bao replied with smile: “No! Who dares to wear red if such persons don’t deserve it? I just admire them and hope if they can stay in our house.” Aroma sneered, “I live as a maid. So all of my families should be the same as me? And we should pick up the best girls to be maids in your home?” Master Bao said with smile, “Don’t be touchy. It doesn’t mean to be the maid but to be our relatives in our house.” Aroma replied, “It doesn’t match, either.” Master Bao refused to say any more, but just peeled chestnuts. Aroma smiled and said, “Why are you silent? I think I just offended you. You could spend some money and buy them if you want.” Master smiled and said, “How to respond to your words. I just show my admiration and think they are born to be in such circumstance where the persons like me live. ”--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:34, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081481	陈心怡	女==&lt;br /&gt;
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袭人道：“他虽没这样造化，倒也是娇生惯养的，我姨父、姨娘的宝贝儿似的。如今十七岁，各样的嫁妆都齐备了，明年就出嫁。”宝玉听了“出嫁”二字，不禁又嗐了两声。正不自在，又听袭人叹道：“我这几年，姊妹们都不大见；如今我要回去了，他们又都去了。”&lt;br /&gt;
宝玉听这话里有文章，不觉吃了一惊，忙扔下栗子，问道：“怎么着，你如今要回去？”袭人道：“我今儿听见我妈和哥哥商量，教我再耐一年，明年他们上来，就赎出我去呢。”宝玉听了这话，越发忙了，因问：“为什么赎你呢？”袭人道：“这话奇了。我又比不得是这里的家生子儿，我们一家子都在别处，独我一个人在这里，怎么是个了局呢？”宝玉道：“我不叫你去，也难哪。”袭人道：“从来没这个理。就是朝廷宫里，也有定例：几年一挑，几年一放，没有长远留下人的理，别说你们家。” 宝玉想一想，果然有理。又道：“老太太要不放你呢？”&lt;br /&gt;
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Aroma said, “Although she has few achievements, she is pampered and the apple of my uncle’s, aunt’s eyes. She is now 17. Since all kinds of dowries had been prepared, she could get married next year. ” Hearing “get married”,  Precious Jade Merchant signed spontaneously. He was still ill at ease and then heard Aroma said, “I have rarely met with my sisters in the past few years. Now I’m going back, however, they came.” Precious Jade Merchant thought that there’s more to it than what is said. He was amazed, threw chestnuts at once and asked, “what’s wrong? You are going back now?” Aroma said, “I heard my mother and brother talking about it today. They want me to remain patient for another year and they will come here to redeem me next year. ” Precious Jade heard it, felt anxious and asked, “Why they want to redeem you?” Aroma said, “What you said is pretty strange. I’m not a daughter of maids here. My family is elsewhere, and I’m the only one here. How can it be like this?” Precious Jade said, “I’m afraid I can’t let you go.” Aroma said, “It makes no sense. There are routines even in the imperial palace: palace maids are selected once every few years and then set free. There is no reason to keep a person for a long time in the imperial palace, let alone in your house.” Precious Jade thought about it for a while and thought it made sense. Then he said, “What if my grandmothers doesn’t let you go?”--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:02, 29 September 2021 (UTC)&lt;br /&gt;
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Aroma said, “Though not born as good, she is also spoilt and pampered, being the apple of my aunt and uncles’ eyes. She is now 17 and dowries of all sorts have been prepared for her marriage next year.” At the hearing of the word “marriage”, Precious Jade Merchant gave a sigh. As he was feeling ill at ease, Aroma sighed and continued, “I rarely met my sisters in the past few years. While I’m going back home, they are all about to leave.” Precious Jade Merchant felt surprised at what she said. He threw away chestnuts at once and asked, “why, you are going back home?” Aroma answered, ““I heard my mother and my brother talking today. They told me to stay here for another year and they will come here to ransom me next year.” Hearing that, Precious Jade got more anxious and asked, “Why do they want to ransom you?” Aroma replied, “what a strange question! I’m no daughter of maids here. My family lives elsewhere and I’m all alone here. How can we be together?” Precious Jade sighed, “If I won’t let you go, I suppose it’s difficult.” Aroma answered, “It makes no sense. There are routines even in the imperial palace: maids are selected once every few years and then set free. There is no reason to keep a servant for a long time in the imperial palace, let alone in your house.”Precious Jade thought for a while and considered it reasonable. Then he said, “What if my grandmothers won’t  let you go?”--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 09:47, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081487	高蜜	女==&lt;br /&gt;
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袭人道：“为什么不放呢？我果然是个难得的，或者感动了老太太、太太，不肯放我出去，再多给我们家几两银子留下，也还有的；其实我又不过是个最平常的人，比我强的多而且多。我从小儿跟着老太太，先伏侍了史大姑娘几年，这会子又伏侍了你几年。我们家要来赎我，正是该叫去的，只怕连身价不要，就开恩放我去呢。要说为伏侍的你好，不叫我去，断然没有的事。那伏侍的好，是分内应当的，不是什么奇功；我去了，仍旧又有好的了，不是没了我就使不得的。”&lt;br /&gt;
宝玉听了这些话，竟是有去的理，无留的理，心里越发急了。因又道：“虽然如此说，我只一心要留下你，不怕老太太不和你母亲说，多多给你母亲些银子，他也不好意思接你了。”&lt;br /&gt;
袭人道：“我妈自然不敢强：且慢说和他好说，又多给银子；就便不好好和他说，一个钱也不给，安心要强留下我，他也不敢不依。但只是咱们家从没干过这倚势仗贵霸道的事。这比不得别的东西，因为喜欢，加十倍利，弄了来给你，那卖的人不吃亏，就可以行得的；如今无故平空留下我，于你又无益，反教我们骨肉分离，这件事，老太太、太太肯行吗？”&lt;br /&gt;
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Aroma said, “Why won’t she let me leave? I should be so important, or I have somehow moved Grandma Merchant and Lady King so that they won’t let go of me and give some more money to my family so as to make me stay. Actually, I am a most ordinary person. A whole lot people are better than me. Bought in by Grandma Merchant since I was a child, I had served Lady History for the first several years, and these several years I have been serving you. Now my family are about to pay the ransom. When I ask for a leave, I’m thinking that you could have mercy on me and allow my leaving without the ransom money. I certainly don’t buy it that you stop me from leaving just because I have served you well. Even if it’s true, I’m just doing what I’m supposed to do, which is really no big deal. Nothing will go wrong without me as there are still good servants who will take my place when I leave.” Hearing that, Precious Jade Merchant became all the more anxious because she had a reason to leave and no reason to stay. Therefore, he continued, “Since all I want is to keep you here, I might as well tell you that I wish Grandma Merchant to talk to your mother and give her a lot more money so that she has no reason to come and take you home. Aroma replied, “My mother certainly dares not to ask for my leaving, not to mention that you talk to her in a mild and polite way and give her extra money. Even if you force her without a penny, she dares not to defy. It’s only that your family has never done such a thing as to throw your weight about. It’s feasible when you buy something with ten times of its original price out of love, for the seller suffers no loss. Unlike anything else, it does you no good to keep me for no reason, which instead separates me from my mother. Do you think Grandma Merchant and Lady King will let that happen?”--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 16:09, 28 September 2021 (UTC)&lt;br /&gt;
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Aroma said, “Why won’t she let me leave? I should be so important, or I have somehow moved Grandma Merchant and Lady King so that they won’t let go of me and give some more money to my family so as to make me stay. Actually, I can't be more ordinary, and too many maids out there are better than me. Bought in by Grandma Merchant when I was a child, I had served Lady History for the first several years, and these years I have been serving you. Now my families are about to pay the ransom. When I ask for leaving, I’m thinking that you could have mercy on me and allow my leaving without the ransom money. I certainly don’t buy it that you stop me from leaving just because I have taken good care of you. Even if it’s true, I’m just doing what I’m supposed to do, which is really no big deal. Nothing will go wrong without me as there are still good maids who will take my place when I leave.” Hearing that, Precious Jade Merchant became more anxious because she had every reason to leave but no reason to stay. Therefore, he continued, “Since all I want is to keep you here, I might as well tell you that I may beg Grandma to talk to your mother and give her extra money so that she has no reason to come and take you home.” Aroma replied, “My mother certainly dares not to ask, not to mention that you talk to her in a mild and polite way and give her extra money. Even if you force her without a penny, she dares not to defy. It’s only that your family has never done such a thing as to throw your weight about. It’s feasible when you buy something with ten times of its original price out of love, for the seller suffers no loss. Unlike anything else, it does you no good to keep me for no reason, which instead separates me from my family. Do you think Grandma Merchant and Lady King will let that happen?”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 10:02, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081489	何芩	女==&lt;br /&gt;
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宝玉听了，思忖半晌，乃说道：“依你说来说去，是去定了？”袭人道：“去定了。”宝玉听了，自思道：“谁知这样一个人，这样薄情无义呢！”乃叹道：“早知道都是要去的，我就不该弄了来，临了剩我一个孤鬼儿。”说着，便赌气上床睡了。原来袭人在家，听见他母、兄要赎他回去，他就说：“至死也不回去。”又说：“当日原是你们没饭吃，就剩了我还值几两银子，要不叫你们卖，没有个看着老子娘饿死的理；如今幸而卖到这个地方儿，吃穿和主子一样，又不朝打暮骂。况如今爹虽没了，你们却又整理的家成业就，复了元气；若果然还艰难，把我赎出来，再多掏摸几个钱，也还罢了。其实又不难了，这会子又赎我做什么？权当我死了，再不必起赎我的念头了。”因此哭了一阵。他母、兄见他这般坚执，自然必不出来的了；况且原是卖倒的死契。明仗着贾宅是慈善宽厚人家儿，不过求求，只怕连身价银一并赏了，还是有的事呢。&lt;br /&gt;
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After hearing this, Precious Jade Merchant thought for a while and said, “According to you, you have to go?” “I have to.” Aroma confirmed. Hearing this, Precious Jade thought to himself, “Who knows how heartless you are.”  “I should not have had you here, since you are doomed to go, leaving me alone as a ghost.” Precious Jade sighed and went to bed with complaints. However, during her stay at home, Aroma heard her mother and elder brother wanted to redeem her back.  “I won’t go back until I die.” Aroma railed, “At that time, you were starved to death. Nothing but I was worth some money. If I had refused to be sold, you would have been dead. I was fortunately to be sold to the Merchant’s and treated as a lady, free from abuses. Though my father has passed away, you have recollected yourselves and established new lives. If you were still in trouble, it would make sense that you wanted to reap some profit by redeeming me out. Since you are not, why are you bothering to do this? Don’t ever think about it! Just pretend I’m dead.” Seeing Aroma’s tears and insistence, her mother and elder brother knew it was impossible for her to leave the Merchant’s, besides, it was a sold-out death indenture. In fact, it was not impossible for the Merchant’s, who was a charitable and generous family, to set Aroma free with compensation money, if Aroma pleaded.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:03, 28 September 2021 (UTC)&lt;br /&gt;
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After hearing this, Precious Jade Merchant thought for a while and said, “According to you, you have to go?” “Yes, I have to.” Aroma confirmed. Hearing this, Precious Jade thought, “Who knows how heartless she is.”  “I should not have had you here, since you are doomed to go, leaving me alone as a ghost.” Precious Jade sighed and went to bed with complaints. However, during her stay at home, Aroma heard her mother and elder brother want to redeem her back.  “I won’t return home until I die.” Aroma railed, “At that time, you were starved to death. Nothing but I was worth some money. If I had refused to be sold, you would have been dead. I was fortunately to be sold to the Merchant’s and treated as a lady, free from abuses. Though my father has passed away, you have reorganized the family and established new lives. If you were still in trouble, it would make sense that you wanted to reap some profit by redeeming me out. Since you are not, why are you bothering to do this? Don’t think about it anymore! Just pretend I’m dead.” Seeing Aroma’s tears and insistence, her mother and elder brother knew it was impossible for Aroma to leave the Merchant’s, besides, it was a sold-out lifetime indenture. In fact, it was possible for the Merchant’s, who was a charitable and generous family, to set Aroma free with compensation money, if Aroma pleaded.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:41, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081499	李双	女==&lt;br /&gt;
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二则，贾府中从不曾作践下人，只有恩多威少的；且凡老少房中所有亲侍的女孩子们，更比待家下众人不同，平常寒薄人家的女孩儿也不能那么尊重。因此他母子两个就死心不赎了。&lt;br /&gt;
次后忽然宝玉去了，他两个又是那个光景儿，母子二人心中更明白了，越发一块石头落了地，而且是意外之想，彼此放心，再无别意了。&lt;br /&gt;
且说袭人自幼儿见宝玉性格异常，其淘气憨顽出于众小儿之外，更有几件千奇百怪、口不能言的毛病儿。近来仗着祖母溺爱，父母亦不能十分严紧拘管，更觉放纵弛荡，任情恣性，最不喜务正。每欲劝时，谅不能听。今日可巧有赎身之论，故先用骗词以探其情，以压其气，然后好下箴规。今见宝玉默默睡去，知其情有不忍，气已馁堕。自己原不想栗子吃，只因怕为酥酪生事，又像那茜雪之茶，是以假要栗子为由，混过宝玉不提就完了。&lt;br /&gt;
What’s more, the Merchant’s was very good to the servants, and never treated them cruelly. All the girls who served the old or the young received more respect than the others, even more than the girls who lived in poor families. Consequently Aroma’s mother and brother made their minds not to redeem her. Later the sudden arrival of Precious Jade and his meeting with Aroma still further reassured them and put down their stone in heart. The unexpected situation dispelled their other thoughts. When Precious Jade Merchant was young, Aroma found that he was different from ordinary children and that he was naughtier and had some foibles which can’t be told to others. Recently, because Grandma Merchant spoiled Precious Jade too much, his parents couldn’t discipline him too. He was therefore more indulgent and willful, and hated doing the right thing. Whenever others persuaded him, he was stubborn. Today it happened to talk about redemption, so Aroma deliberately lied to Precious Jade to test his attitude and to restrain his anger, and then made the rules. She saw Precious Jade go to sleep silently. She knew the truth, therefore she couldn’t help feeling some guilt, and her anger also subsided. Aroma hadn’t wanted to eat the chestnuts, but was just afraid of the problems that would result from the milk, just like Snow Alizarin’s tea. For this reason, she tricked Precious Jade into not mentioning milk by pretending she wanted to eat chestnuts.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 04:50, 29 September 2021 (UTC)&lt;br /&gt;
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What’s more, the Merchant’s was very nice to the servants, and never treated them cruelly. All the girls who served as maids of the family members, old or young, were generally treated more kindly than the servants in other position, and were even better off than daughters of ordinary families. Consequently Aroma’s mother and brother made their minds not to buy her freedom. Then the sudden arrival of Precious Jade and the acquaintance between Aroma and her master showed the true situation of Aroma, which made them reassure. The unexpected situation dispelled their other thoughts. These years had shown Aroma that Precious Jade with some indescribably odd habits, was no ordinary youth and was more willful than others. Recently, Precious Jade was so indulged by his grandma that his parents couldn’t discipline him strictly. Therefore, he became more indulgent, headstrong and impatient at conventions. Whenever she wanted to exhort him to clean up his act, she was convinced he would not listen to her. Luckily, using the incident as a convenient excuse, Aroma enabled to sound him out, pacify his mood, and give him a good lecture. She saw Precious Jade go to sleep silently. She knew his sadness about her departure, so she didn’t have the heart  to give a lecture  to him. As for chestnuts, Aroma hadn’t wanted to eat but she had pretended to be eager for them, for fear that the junket would creat a disturbance, just like Snow Alizarin’s tea. She made Precious Jade forget the junket by pretending to hanker after chestnuts.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:53, 1 October 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081506	刘胜楠	女==&lt;br /&gt;
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于是命小丫头子们将栗子拿去吃了，自己来推宝玉，只见宝玉泪痕满面。&lt;br /&gt;
袭人便笑道：“这有什么伤心的？你果然留我，我自然不肯出去。”宝玉见这话头儿活动了，便道：“你说说，我还要怎么留你？我自己也难说了。”&lt;br /&gt;
袭人笑道：“咱们两个的好，是不用说了。但你要安心留我，不在这上头。我另说出三件事来，你果然依了，那就是真心留我了；刀搁在脖子上，我也不出去了。”&lt;br /&gt;
宝玉忙笑道：“你说那几件？我都依你。好姐姐，好亲姐姐，别说两三件，就是两三百件，我也依的。只求你们看守着我，等我有一日化成了飞灰，——飞灰还不好，灰还有形有迹，还有知识的。——等我化成一股轻烟，风一吹就散了的时候儿，你们也管不得我，我也顾不得你们了，凭你们爱那里去，那里去就完了。”&lt;br /&gt;
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Aroma thereupon gave the chestnuts to the other maids and nudged Precious Jade gently. She found his face is tear-strained .“Why you so sad about that?”she cajoled. “If you really want me to remind here, I won’t leave of course.” Reading between the lines, Precious Jade quickly replied , “Just tell me what I can do to keep you. I don't know how to persuade you.” She laughed, “We needn’t mention how well we get along with each other. If you really want to keep me, that’s a whole other story. If you promise me two or three things I come up with, I’ll assume that you are truly want me to stay. Then even a knife at my throat could not make me get out of here.”Precious Jade merrily said, “Well, what are these three conditions? I will agree them all, dear sister, my nice sister. I’d agree to two or three hundred conditions, let alone two or three. I merely implore you all to stay and take care of me until the day that I turn into flying ashes. No, I don’t want to turn into ashes because ashes have a trace of form and awareness . I’d like to let you all stay until I’ve turned into a wisp of smoke and been blown away by the wind. Then you will not be able to watch over me, and l will not be able to care about you.  I will let you go wherever you please as well.”--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 04:48, 29 September 2021 (UTC) &lt;br /&gt;
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Aroma thereupon gave the chestnuts to the other maids and nudged Precious Jade gently. She found his face tear-strained .“Why are you so sad about that?”she cajoled .“If you really want me to remind in Jia’s mansion, I won’t leave naturally.” Reading between the lines, Precious Jade quickly replied , “Just tell me what else I can do to keep you. I don't know.” She laughed, “We needn’t mention how well we get along with each other. If you really want to keep me, that’s a whole other story. If you promise me two or three things I come up with, I‘ll assume that you are truly want me to stay. Then even a knife at my throat could not make me get out of here.” Precious Jade merrily said, “Well, what are these three conditions? I will agree them all, good  sister, my dear sister. I’d agree to two or three hundred conditions, let alone two or three. I merely implore you all to stay and take care of me until the day that I turn into flying ashes. No, I don’t want to turn into ashes because ashes have a trace of form and awareness . I’d like to let you all stay until I’ve turned into a wisp of smoke and been blown away by the wind. Then you will not be able to take care of me, and l will not be able to care about you.  I will let you go wherever you want as well.”--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:38, 29 September 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120021494	金晓童	女==&lt;br /&gt;
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急的袭人忙捂他的嘴道：“好爷，我正为劝你这些个，更说的狠了。”宝玉忙说道：“再不说这话了。”袭人道：“这是头一件要改的。”宝玉道：“改了，再说你就拧嘴。还有什么？”&lt;br /&gt;
袭人道：“第二件，你真爱念书也罢，假爱也罢，只在老爷跟前，或在别人跟前，你别只管嘴里混批，只作出个爱念书的样儿来，也叫老爷少生点儿气，在人跟前也好说嘴。老爷心里想着：我家代代念书，只从有了你，不承望不但不爱念书(已经他心里又气又恼了)，而且背前面后混批评：凡读书上进的人，你就起个外号儿，叫人家‘禄蠹’；又说只除了什么‘明明德’外就没书了，都是前人自己混编纂出来的。这些话，你怎么怨得老爷不气，不时时刻刻的要打你呢？”&lt;br /&gt;
宝玉笑道：“再不说了。那是我小时候儿不知天多高地多厚，信口胡说的，如今再不敢说了。还有什么呢？”&lt;br /&gt;
Aroma covered his mouth in a hurry and said:&amp;quot;my dear lord, I'm trying to persuade you, but you said these even harder.&amp;quot; Precious Jade Merchant quickly said:&amp;quot;I will not say these again.&amp;quot;&amp;quot;This is the first thing you need to change.&amp;quot;Aroma replied.Precious Jade Merchant said:&amp;quot;OK,if I say it again,you can twist my mouth.Anything else?＂&lt;br /&gt;
Aroma said:” The second thing, whether you like studying or not, except for nonsense you just need to pretend that you like reading when talking to milord or other people, which can make milord less angry so that he have something to talk. Milord will say to himself:“Everyone in my family have studied from generation to generation except you. And I can’t imagine that not only do you hate reading(already he was angry and bitter), but also making criticism everywhere----if someone are motivated and love reading, you will call him ‘greedy man’; or you will say every book is fabricated but ‘li Ji’Because of these above, why did you complain that milord are usually annoyed and beat your ass?” “I will never be like that before. When I was a kid, I didn’t understand bragging and talk whatever I want. My dare not say now, and what else?” Precious Jade Merchant said with a smile.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:49, 28 September 2021 (UTC)&lt;br /&gt;
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Xiren covered his mouth in a hurry and said: &amp;quot;my dear lord, I'm trying to persuade you, but you're exaggerating these.&amp;quot;Baoyu quickly said: &amp;quot;I will not say these again. &amp;quot; &amp;quot;This is the first thing you need to change. &amp;quot;Xiren replied.Baoyu said: &amp;quot;OK, if I say it again,you can twist my mouth. Anything else? &amp;quot;Xiren said: &amp;quot;The second thing, whether you like studying or not, you can't just talk nonsense, you just need to pretend that you like reading when talking to milord or other people, which can make milord less angry so that he have something to talk with others. Milord will say to himself: &amp;quot;Everyone in my family have studied from generation to generation except you .And I can't imagine that not only do you hate reading (already he was angry and bitter), but also making criticism everywhere casually----if someone are motivated and love reading, you will call him 'greedy man'; you also said there were no other books in the world except 'li Ji', that all other books were made up groundlessly by predecessors. Because of these above, why did you complain that milord are usually annoyed and beat your ass? &amp;quot; &lt;br /&gt;
&amp;quot;I will never be like that before. When I was a kid,  I didn't understand bragging and talk whatever I want. My dare not say now, and what else? &amp;quot;BaoYu said with a smile.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 02:19, 2 October 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081504	李怡	女==&lt;br /&gt;
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袭人道：“再不许谤僧毁道的了。还有更要紧的一件事：再不许弄花儿，弄粉儿，偷着吃人嘴上擦的胭脂和那个爱红的毛病儿了。”宝玉道：“都改，都改。再有什么，快说罢。”&lt;br /&gt;
袭人道：“也没有了，只是百事检点些，不任意任性的就是了。你要果然都依了，就拿八人轿也抬不出我去了。”宝玉笑道：“你在这里长远了，不怕没八人轿你坐。”袭人冷笑道：“这我可不稀罕的！有那个福气，没有那个道理，纵坐了也没趣儿。”&lt;br /&gt;
二人正说着，只见秋纹走进来说：“三更天了，该睡了。方才老太太打发嬷嬷来问，我答应睡了。”宝玉命取表来看时，果然针已指到子初二刻了。方从新盥漱，宽衣安歇，不在话下。&lt;br /&gt;
至次日清晨，袭人起来，便觉身体发重，头疼目胀，四肢火热。先时还扎挣的住，次后挨不住，只要睡，因而和衣躺在炕上。&lt;br /&gt;
Aroma said :Stop denigrating monks and dhamma.There is a more important things : no more indulging in flowers and rouge and powder,no more touching lipstick on other people's lips secretly ,and give up the habit of applying makeup. Precious Jade Merchant said :i will change it all .And anything else ? Aroma said : Nothing,you must be careful of everything and stop being capricious. If you change them all, I won't leave even if you lift me in a  huge Jiao. Precious Jade Merchant laughed and said : If you stay here long enough, you'll be able to ride in a big Jiao. Aroma sneered and said :I don't desire it, and even if I were lucky enough to ride in the big Jiao, it would be against the rules and boring.&lt;br /&gt;
While the two were talking, Autumn Vein came in and said : It's early in the morning and it's time to go to bed. Grandma Merchant sent her maid to ask after you, and I said you were asleep. Precious Jade Merchant took a watch and checked the time, and it was already midnight, he cleaned up again and then undressed and went to bed and stopped talking.&lt;br /&gt;
When Aroma got up early the next morning, she felt heavy and dizzy,and she felt her body was burning. At first she managed to stand up, then she couldn't hold on and felt sleepy, and finally she lay down in bed with her clothes on.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:35, 29 September 2021 (UTC)&lt;br /&gt;
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Aroma said, “Stop denigrating monks and dhamma. There is a more important things : no more indulging in flowers and rouge and powder, no more eating lipstick on other people’s lips secretly, and give up the habit of applying makeup.” Precious Jade Merchant said, “I I will rectify all these addictions. And anything else ? ” Aroma said: “No, however, you must be careful of everything and stop being capricious. If you were a kind man, I won’t leave even if you had an eight-man palanquin. Precious Jade Merchant laughed and said: “If you stay here long enough, you’ll be able to in an eight-person palanquin. Aroma sneered and said: “I don’t desire it, and even if I were lucky enough to be in the palanquin, it would be against the rules. That’s boring.” While the two were talking, Autumn Vein came in and said, “It's almost dawn and it’s time to go to bed. Grandma Merchant sent her maid to ask after you, and I said you were asleep.” Precious Jade Merchant asked his servant to bring the watch and checked the time, and it was already midnight. He cleaned up again, undressed and went to bed promptly. When Aroma got up the next morning, she felt heavy and dizzy with a body burning. At first, she was able to stand up, but couldn’t hold on after a short while, and felt extremely sleepy. Thus, she lay down in bed with her clothes on.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:59, 29 September 2021 (UTC)彭瑞雪&lt;br /&gt;
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==法语语言文学	202120081517	彭瑞雪	女==&lt;br /&gt;
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宝玉忙回了贾母，传医诊视，说道：“不过偶感风寒，吃一两剂药，疏散疏散就好了。”开方去后，令人取药来煎好。刚服下去，命他盖上被窝焐汗。宝玉自去黛玉房中来看视。&lt;br /&gt;
彼时黛玉自在床上歇午，丫鬟们皆出去自便，满屋内静悄悄的。宝玉揭起绣线软帘，进入里间，只见黛玉睡在那里，忙上来推他道：“好妹妹，才吃了饭，又睡觉。”将黛玉唤醒。黛玉见是宝玉，因说道：“你且出去逛逛。我前儿闹了一夜，今儿还没歇过来，浑身酸疼。”宝玉道：“酸疼事小，睡出来的病大。我替你解闷儿，混过困去就好了。”黛玉只合着眼，说道：“我不困，只略歇歇儿。你且别处去闹会子再来。”宝玉推他道：“我往那里去呢？见了别人就怪腻的。”&lt;br /&gt;
After hastily greeting Granny Merchant, Precious Jade Merchant invited a doctor to see Aroma at home. The doctor said,“This young lady has only caught a cold by chance, take a few pills, the illness will slowly fade away.” According to the prescription prescribed by the doctor, the servant was ordered to pick out the medicine in the pharmacy and to cook it. As soon as Aroma finished the soup, the doctor asked her to cover herself with a quilt in order to sweat and get rid of the cold in her body. Then, Precious Jade Merchant went alone to Mascara Jade Forest’s room to visit her. At that time, she was lying alone in bed, taking a nap, and the maids had all gone off to do their own things, and silence filled the whole room. Precious Jade Merchant gently lifted the curtain and entered the room, only to see her sleeping there, and hurriedly went up to her, nudged her and said to her: “Lovely sister, you just went to bed after eating, how can you do that?” He tried to wake Mascara Jade Forest up. When she was awakened, she saw that the person who had woken her up was Precious Jade Merchant, she saisd, “Could you go out for a walk for the time being. I was up all night the night before, and to this day I still have not recovered my energy. I feel sick.” he answered, “Feeling sick is not a big problem. But if you keep sleeping, you will become really very ill. I will relieve your boredom so that the sleepiness is dispelled, and you will be refreshed.” Mascara Jade Forest just closed her eyes and said,“I’m not sleepy, I just want to rest for a while. Go and play somewhere else for a while, after that, you can come back to me.” Precious Jade Merchant nudged her and said, “Where can I go? I’m tired of others.”--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:37, 29 December 2021 (UTC)&lt;br /&gt;
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After hastily greeting Grandma Merchant, Precious Jade invited a doctor to see Aroma at home. The doctor said,“This young lady has only caught a cold by chance, take a few pills and she will be recovered.” According to the prescription prescribed by the doctor, the servant was ordered to pick out the medicine in the pharmacy and to decoct it. As soon as Aroma finished the medicine, the doctor asked her to cover herself with a quilt in order to sweat and get rid of the cold in her body. Then, Precious Jade went alone to Mascara Jade's room to visit her. At that time, Mascara Jade was lying alone in bed, taking a nap, and the maids had all gone off to do their own things, and silence filled the whole room. Precious Jade gently lifted the curtain and entered the room, only to see Daiyu sleeping there, and hurriedly went up to her, nudged her and said to her: “Lovely sister, you just went to bed after eating, how can you do that?” Precious Jade tried to wake Mascara Jade up. When she was awakened, she saw that the person who had woken her up was Precious Jade , she saisd, “Could you go out for a walk for the time being. I was up all night the night before, and to this day I still have not recovered my energy. I feel sick.” Precious Jade answered, “Feeling sick is not a big problem. But if you keep sleeping, you will become really very sick. I will relieve your boredom so that the sleepiness will be dispelled, and you will be refreshed.” Mascara Jade just closed her eyes and said,“I’m not sleepy, I just want to rest for a while. Go and play somewhere else for a while, after that, you can come back to me.” Precious Jade nudged her and said, “Where can I go? I’m tired of others.”--Yang Kun(talk) 21;22, 29 September 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081542	杨堃	女==&lt;br /&gt;
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黛玉听了，嗤的一笑道：“你既要在这里，那边去老老实实的坐着，咱们说话儿。”宝玉道：“我也歪着。”黛玉道：“你就歪着。”宝玉道：“没有枕头，咱们在一个枕头上罢。”黛玉道：“放屁！外头不是枕头？拿一个来枕着。”&lt;br /&gt;
宝玉出至外间，看了一看，回来笑道：“那个我不要，也不知是那个腌臜老婆子的。”黛玉听了，睁开眼，起身笑道：“真真你就是我命中的魔星！请枕这一个。”说着，将自己枕的推给宝玉，又起身将自己的再拿了一个来枕上，二人对着脸儿躺下。&lt;br /&gt;
黛玉一回眼，看见宝玉左边腮上有钮扣大小的一块血迹，便欠身凑近前来，以手抚之细看道：“这又是谁的指甲划破了？”宝玉倒身，一面躲，一面笑道：“不是划的，只怕是才刚替他们淘澄胭脂膏子，溅上了一点儿。”说着，便找绢子要擦。&lt;br /&gt;
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When Mascara Jade heard this, she giggled and said, &amp;quot;Since you want to sit here, sit honestly there and let's talk.&amp;quot; Precious Jade Merchant said, &amp;quot;I want to lie down here,too.&amp;quot; &amp;quot;You can do it!&amp;quot; said Mascara Jade. &amp;quot; Precious Jade said, &amp;quot;There isn't other pillow. Let's be on the same pillow.&amp;quot; Mascara Jade said, &amp;quot;Bullshit! It's not a pillow outside? Take one !&amp;quot; &lt;br /&gt;
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Precious Jade went out to the outer room, looked at it, came back and smiled, &amp;quot;I don't want that, and I don't know if it belongs to a certain pickled old woman.&amp;quot; Hearing this, Mascara Jade opened her eyes, got up and smiled, &amp;quot; You are the magic star I hit! Please rest with this one. &amp;quot; Then, she pushed her pillow to Precious Jade, got up and fetched another one .After that,the two lay down face-to-face. &lt;br /&gt;
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As soon as Mascara Jade looked back and saw a piece of blood ,the size of a button, on Precious Jade's left cheek. She leaned forward and looked closely with her hand, saying, &amp;quot;whose nails cut your face?&amp;quot; Precious Jade turned back, hiding, and said with a smile, &amp;quot;It's not a wound. I think it's just spattered with a little blusher when I washed it for them just now.&amp;quot; With that, he looked for the handkerchief to wipe.--Yang Kun (talk) 23:50, 28 September 2021 (UTC)&lt;br /&gt;
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When Mascara Jade heard this, she giggled and said, &amp;quot;Since you want to stay here, sit there quietly and let's  have a talk.&amp;quot; Precious Jade said, &amp;quot;I want to lie down, too.&amp;quot; &amp;quot;Do as you like&amp;quot; said Mascara Jade. &amp;quot; Precious Jade said, &amp;quot;There isn't other pillow. Let's share the pillow.&amp;quot; Mascara Jade said, &amp;quot;Don’t talk rot! It's not a pillow outside? Take one !&amp;quot; Precious Jade went out to the outer room, looked at it, came back and smiled, &amp;quot;I don't want that, and I don't know if it belongs to a certain pickled old woman.&amp;quot; Hearing this, Mascara Jade opened her eyes, got up and smiled, &amp;quot; You are the magic star I hit! Please rest with this one. &amp;quot; Then, she pushed her pillow to Precious Jade, got up and fetched another one. After that, the two lay down face-to-face. As soon as Mascara Jade looked back and saw a piece of blood ,the size of a button, on Precious Jade’s left cheek. She leaned forward and looked closely with her hand, saying, &amp;quot;whose nails cut your face?&amp;quot; Precious Jade turned back, hiding, and said with a smile, &amp;quot;It's not a wound. I think it's just spattered with a little blusher when I washed it for them just now.&amp;quot; With that, he looked for the handkerchief to wipe.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 05:12, 29 December 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081556	周俊辉	女==&lt;br /&gt;
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黛玉便用自己的绢子替他擦了，咂着嘴儿说道：“你又干这些事了；干也罢了，必定还要带出幌子来。就是舅舅看不见，别人看见了，又当作奇怪事，新鲜话儿，去学舌讨好儿，吹到舅舅耳朵里，大家又该不得心净了。”&lt;br /&gt;
宝玉总没听见这些话，只闻见一股幽香，却是从黛玉袖中发出，闻之令人醉魂酥骨。&lt;br /&gt;
宝玉一把便将黛玉的衣袖拉住，要瞧瞧笼着何物。黛玉笑道：“这时候谁带什么香呢？”宝玉笑道：“那么着，这香是那里来的？”黛玉道：“连我也不知道，想必是柜子里头的香气熏染的，也未可知。”宝玉摇头道：“未必。这香的气味奇怪，不是那些香饼子、香球子、香袋儿的香。”黛玉冷笑道：“难道我也有什么罗汉、真人给我些奇香不成？就是得了奇香，也没有亲哥哥亲兄弟弄了花儿、朵儿、霜儿、雪儿替我炮制。我有的是那些俗香罢了。”&lt;br /&gt;
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Mascara Jade wiped his cheek with her handkerchief. Smacking her mouth, she said:“ You did it again. You always make excuses to do the trifles. You’re lucky that my uncle doesn’t know. But if other people saw it, they would take it as an anecdote, an opportunity to play up to my uncle. As soon as my uncle hears about it, there will be no peace in the house.”&lt;br /&gt;
The words went in one his ear and out the other. At that moment, he smelled a faint fragrance coming from Mascara Jade’s sleeve, which was intoxicating. &lt;br /&gt;
Precious Jade grabbed Mascara Jade’s sleeve to see what it was. Mascara Jade laughed and said, “Who brings balsam at this time?” He laughed: “Then where does the fragrance come from?” “Even I don’t know. Maybe it came out of the closet.” Precious Jade shook his head:“Not necessarily, the smell is very strange, not like the fragrance of incense cake, of incense ball, of incense bag.” Mascara Jade sneered: “ Will some god give me some magic spice? Even if I really get it, there is no brothers to help me find flowers, buds, frost and snow, then help me make incense. All I have is mediocre spices.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:04, 2 October 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest wiped his mouth with her mocket,she pouted and said:“You did it again, but you also make trouble to us. Although uncle couldn't see it, other people could and would take it as a anecdote. Mabye he heard of it beacause of someone's flattery, there won't be quiet.”&lt;br /&gt;
The words went in one of his ears and out the other. At that moment, he smelled a faint fragrance coming from Mascara Jade Forest’s sleeve,which was intoxicating. &lt;br /&gt;
Precious Jade Merchant grabbed her sleeve to see what stuff hide im. Mascara Jade Forest smiled and said, “Who brings balsam at this time?” He laughed: “Then where does the fragrance come from?” “Even I don’t know. Maybe it's fumigated by the fragrance of the closet.” Precious Jade Merchant shook his head:“Not necessarily, the smell is very strange, not like the fragrance of incense cake, of incense ball, of incense bag.” Mascara Jade Forest sneered: “ Will some god give me some magic spice? Even if I really get it, there is no brothers to help me find flowers, buds, frost and snow, then help me make incense. All I have is mediocre spices.”--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 13:13, 29 September 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081558	周清	女==&lt;br /&gt;
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宝玉笑道：“凡我说一句，你就拉上这些。不给你个利害也不知道，从今儿可不饶你了。”说着，翻身起来，将两只手呵了两口，便伸向黛玉膈肢窝内两胁下乱挠。黛玉素性触痒不禁，见宝玉两手伸来乱挠，便笑的喘不过气来。口里说：“宝玉，你再闹，我就恼了。”宝玉方住了手，笑问道：“你还说这些不说了？”黛玉笑道：“再不敢了。”一面理鬓，笑道：“我有奇香，你有‘暖香’没有？”&lt;br /&gt;
宝玉见问，一时解不来，因问：“什么‘暖香’？”黛玉点头笑叹道：“蠢才，蠢才！你有‘玉’，人家就有‘金’来配你；人家有‘冷香’，你就没有‘暖香’去配他？”宝玉方听出来，因笑道：“方才告饶，如今更说狠了。”说着又要伸手。黛玉忙笑道：“好哥哥，我可不敢了。”宝玉笑道：“饶你不难，只把袖子我闻一闻。”说着便拉了袖子，笼在面上，闻个不住。黛玉夺了手道：“这可该去了。”宝玉笑道：“要去不能。咱们斯斯文文的躺着说话儿。”说着，复又躺下。黛玉也躺下，用绢子盖上脸。&lt;br /&gt;
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Precious Jade Merchant smiled and said:&amp;quot;if i say a word,you will do something like this. You don't know how to constrain, from now on, i won't forgive you anymore if you won't change.&amp;quot; As he said, he stood up and exhaled two warm breaths to his both hands, and then put them into the two flanks of Mascara Jade Forest's diaphragm and scratched randomly. Mascara Jade Forest still couldn't help itching, so she couldn't breathe with a smile. She said:&amp;quot;Baoyu, if you make a disturbance,i will bw anoyed.&amp;quot; Baoyu stopped, he smiled and said:&amp;quot;Will you still say this?&amp;quot; &amp;quot;i'll never do it again. But i have a special perfume, do you have the 'warm perfume'.&amp;quot; Mascara Jade Forest smiled and said.&lt;br /&gt;
Precious Jade Merchant couldn't solve it for a while, so he asked:&amp;quot;What's the &amp;quot;warm perfume?&amp;quot; Mascara Jade Forest nodded and signed with a smile:&amp;quot;stupd, stupid!You have &amp;quot;jade&amp;quot;, people will have &amp;quot;gold&amp;quot;to match you;i have &amp;quot;cold perfume&amp;quot;, but you don't have &amp;quot;warm perfume?&amp;quot; Precious Jade Merchant undstood:&amp;quot;You just surrendered, and now it's even more excesive.&amp;quot; He was about to stretch out his hand again. Mascara Jade Forest hurriedly smiled: &amp;quot;Good brother, I don't dare anymore.&amp;quot;Precious Jade Merchant smiled: &amp;quot;It's not difficult to spare you. I just smell your sleeves.&amp;quot; As he said, he pulled up his sleeves, caged on his face, and couldn't help smelling it.Mascara Jade Forest grabbed his hand and said, &amp;quot;This is the time to go.&amp;quot; Precious Jade Merchant smiled and said, &amp;quot;I can't go. Let's lie down and talk quietly.&amp;quot; As he said, he lay down again. Mascara Jade Forest also lay down and covered her face with silk.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 12:54, 11 October 2021 (UTC)&lt;br /&gt;
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Baoyu smiled and said:&amp;quot;if i say a word,you will do something like this. You don't know what happened if I'm not serious. I won't let you off from this day forward. &amp;quot; As he said, he stood up and exhaled two warm breaths to his both hands, and then put them into the two flanks of Daiyu's diaphragm and scratched randomly. Daiyu still couldn't help itching, so she couldn't breathe with a smile. She said:&amp;quot;Baoyu, if you make a disturbance,i will bw anoyed.&amp;quot; Baoyu stopped, he smiled and said:&amp;quot;Will you still say this?&amp;quot; &amp;quot;i'll never do it again. But i have a special perfume, do you have the 'warm perfume'.&amp;quot; Daiyu smiled and said.&lt;br /&gt;
Baoyu couldn't solve it for a while, so he asked:&amp;quot;What's the &amp;quot;warm perfume?&amp;quot; Daiyu nodded and signed with a smile:&amp;quot;stupd, stupid!You have &amp;quot;jade&amp;quot;, people will have &amp;quot;gold&amp;quot;to match you;i have &amp;quot;cold perfume&amp;quot;, but you don't have &amp;quot;warm perfume?&amp;quot; Baoyu undstood:&amp;quot;You just surrendered, and now it's even more excesive.&amp;quot; He was about to stretch out his hand again. Daiyu hurriedly smiled: &amp;quot;Good brother, I don't dare anymore.&amp;quot;Baoyu smiled: &amp;quot;It's not difficult to spare you. I just smell your sleeves.&amp;quot; As he said, he pulled up his sleeves, caged on his face, and couldn't help smelling it.Daiyu grabbed his hand and said, &amp;quot;This is the time to go.&amp;quot; Baoyu smiled and said, &amp;quot;I don't go. Let's lie down and talk quietly.&amp;quot; As he said, he lay down again. Daiyu also lay down and covered her face with silk.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:56, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081488	宫博雅	女==&lt;br /&gt;
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宝玉有一搭没一搭的说些鬼话，黛玉总不理。宝玉问他几岁上京，路上见何景致，扬州有何古迹，土俗民风如何。黛玉不答。宝玉只怕他睡出病来，便哄他道：“嗳哟！你们扬州衙门里有一件大故事，你可知道么？”黛玉见他说的郑重，又且正言厉色，只当是真事，因问：“什么事？”宝玉见问，便忍着笑顺口诌道：“扬州有一座黛山，山上有个林子洞。”黛玉笑道：“这就扯谎，自来也没听见这山。”宝玉道：“天下山水多着呢，你那里都知道？等我说完了，你再批评。”黛玉道：“你说。”&lt;br /&gt;
宝玉又诌道：“林子洞里原来有一群耗子精。那一年腊月初七，老耗子升座议事，说：‘明儿是腊八儿了，世上的人都熬腊八粥。如今我们洞里果品短少，须得趁此打劫些个来才好。’乃拔令箭一枝，遣了个能干小耗子去打听。小耗子回报：‘各处都打听了，惟有山下庙里果、米最多。’老耗子便问：‘米有几样？果有几品？’小耗子道：‘米、豆成仓。果品却只有五样：一是红枣，二是栗子，三是落花生，四是菱角，五是香芋。’&lt;br /&gt;
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Precious Jade Merchant chattered by fits and starts, Mascara Jade Forest kept silent. Precious Jade Merchant asked, “How old were you when you went to the captical? What did you see along the road? Are there any historical sites in Yangzhou? How about the folk customs?” She didn’t answer. Precious Jade Merchant was worried she will get ill for sleeping too long , and coaxed her, “ Ah! There is an important event in yamen of Yangzhou, you know that? ” Mascara Jade Forest saw what he said with a stern look,so she aslo took it seriously. Then she asked, “What envent? ” Upon seeing this, Precious Jade Merchant concealed a smile and kept cooking up, “in Yangzhou there is a mountain called Daishan and a forest cave upon there. ” Mascara Jade Forest smiled, “It is nonsense, I have not heard of it at all. ”Precious Jade Merchant replied, “There are so many landscapes in the world, how do you know all of them? Keeping your comments until i finish my words. ” She said, “Say it. ” Precious Jade Merchant talked recklessly again, “There used to be a bunch of ratspirits in the forest cave. On the seventh day of the twelfth lunar month, the elder ratspirit held a meeting. On the meeting, he said, ‘Tomorrow is the eighth day of the twelfth lunar month. People will all make laba rice porridge. Now that we are short of grain in the cave, we must seize the chance to rob some. ’ Cosequently he threw a command arrow and sent an able young ratspirit to inquire. Young ratspirit returned and reported, ‘I have made inquiries everywhere. The temple at the mountain foot stores most fruits and rice. ’ The old ratspirit asked, ‘ How many kinds of grain? How many kinds of tribute? ’ The young ratspirit said, ‘There's a whole warehouse of rice and bean. There are only five kinds of cereal: one is red dates, two is chestnuts, three is peanuts, four is water chestnut, five is taro. ’--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 01:55, 13 October 2021 (UTC)&lt;br /&gt;
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Chinese names can be translated directly in pinyin.(宝玉—Baoyu；黛玉—Daiyu);Bao Yu was talking nonsense, but Dai Yu always ignored it. She asked him how old he was when he went to Beijing, what sights he saw on the way, what are the monuments in Yangzhou, and what are the customs and folklore. Daiyu did not answer. She was afraid that he would fall asleep and get sick, so she coaxed him, &amp;quot;Oh! There is a big story in your Yangzhou government office, do you know it?&amp;quot; The first time I saw him, I thought he was telling the truth, so I asked, &amp;quot;What is it?&amp;quot; When Baoyu saw the question, he stifled a laugh and said smoothly, &amp;quot;There is a Dai Mountain in Yangzhou and there is a Lin Zi Cave on the mountain.&amp;quot; Daiyu laughed and said, &amp;quot;That's a lie, I haven't heard of this mountain since.&amp;quot; The world is full of mountains and rivers, where do you know them all? When I've finished, you can criticise again.&amp;quot; Daiyu said, &amp;quot;You say it.&amp;quot; Bao Yu said, &amp;quot;There was a group of rat spirits in the forest cave. That year, on the seventh day of the lunar month, the old rats rose to their seats and said: 'Tomorrow is the eighth day of the lunar month, and everyone in the world is making lunar porridge. Now we are short of fruits in the cave, so we must take advantage of this to rob some of them.' He drew an arrow and sent a competent little rat to inquire. The little rat reported, 'I have asked everywhere, but the temple at the bottom of the hill has the most fruit and rice.' The old rat then asked, 'How many kinds of rice are there? How many kinds of fruit are there?' The little rat said, 'Rice and beans are in the warehouse. But there are only five kinds of fruits: first, red dates, second, chestnuts, third, groundnuts, fourth, lozenges, and fifth, taro.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:46, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081515	毛优	女==&lt;br /&gt;
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“老耗子听了大喜，即时拔了一枝令箭，问：‘谁去偷米？’一个耗子便接令去偷米。又拔令箭问：‘谁去偷豆？’又一个耗子接令去偷豆。然后一一的都各领令去了。只剩下香芋，因又拔令箭问：‘谁去偷香芋？’只见一个极小极弱的小耗子应道：‘我愿去偷香芋。’&lt;br /&gt;
“老耗子和众耗子见他这样，恐他不谙练，又怯懦无力，不准他去。小耗子道：‘我虽年小身弱，却是法术无边，口齿伶俐，机谋深远。这一去，管比他们偷的还巧呢。’众耗子忙问：‘怎么比他们巧呢？’小耗子道：‘我不学他们直偷；我只摇身一变，也变成个香芋，滚在香芋堆里，叫人瞧不出来，却暗暗儿的搬运，渐渐的就搬运尽了。这不比直偷硬取的巧吗？’众耗子听了，都说：‘妙却妙，只是不知怎么变？你先变个我们瞧瞧。’小耗子听了，笑道：‘这个不难，等我变来。’说毕，摇身说：‘变！’竟变了一个最标致美貌的一位小姐。众耗子忙笑说：‘错了，错了。原说变果子，怎么变出个小姐来了呢？’小耗子现了形，笑道：‘我说你们没见世面，只认得这果子是香芋，却不知盐课林老爷的小姐才是真正的香玉呢。’”&lt;br /&gt;
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The old mouse was overjoyed and immediately drew an arrow and asked:&amp;quot;Who is going to steal the rice?&amp;quot; A mouse took the order to steal the rice. Then he drew /pulled another arrow and asked again :&amp;quot;Who is going to steal the beans?&amp;quot; Another mouse took the order to steal the beans. All the mouses One by one received the orders, only the order of taro was left. So the old mouse drew this left arrow and asked:&amp;quot;Who is going to steal the taro?&amp;quot;  At this time a very small and weak mouse responded:&amp;quot;I am willing to steal the taro.&amp;quot; The old mouse and all the mice saw him like this, and they would not allow him to go because they were afraid that he would be unskilled and cowardly. But the little mouse said: ‘Although I am young and weak, I have boundless power, skillful tongue and foresight. I will steal more cleverly than others. &amp;quot;The mice hurriedly asked: &amp;quot;How can you do that?&amp;quot; The little mouse said: &amp;quot;I won't learn from them to steal directy. I just changed my body and turned into a taro, rolled in the taro pile. In that way people can't see me. Then I will secretly carry the taros, and gradually they were exhausted. Isn't this more clever than stealing directly? All the mice heard this, and they all said, &amp;quot;It's indeed a wonderful way, but how can you change yourself into a taro? Can you show us now? let's see!&amp;quot;The little mouse listened and said with a smile: &amp;quot;This is not difficult, wait for me!&amp;quot; After speaking, he said: &amp;quot;Change! &amp;quot;She has turned into the most beautiful girl in this world. The mice laughed and said:&amp;quot;it’s wrong, it’s wrong. Originally you said that you would turn into fruit, why did you turn into a girl?&amp;quot; The little mouse appeared, and smiled: &amp;quot;I said you hadn't seen the world, because you only recognized that it was a taro, but you didn't know that master Lin's daughter was the real fragrant jade. &amp;quot;(In Chinese pronounciation of the word &amp;quot;taro&amp;quot; is as the same as the word &amp;quot;fragrant jade&amp;quot;)--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 14:28, 28 September 2021 (UTC)Sept. 28&lt;br /&gt;
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The old mouse was overjoyed and immediately drew an arrow and asked:&amp;quot;Who is going to steal the rice?&amp;quot; A mouse took the order to steal the rice. Then he pulled another arrow and asked again :&amp;quot;Who is going to steal the beans?&amp;quot; Another mouse took the order to steal the beans. All the mouses One by one received the orders, only the order of taro was left. So the old mouse pulled this left arrow and asked:&amp;quot;Who is going to steal the taro?&amp;quot;  At this time a very small and weak mouse responded:&amp;quot;I am willing to steal the taro.&amp;quot; The old mouse and all the mice saw him like this, and they would not allow him to go because they were afraid that he would be unskilled and cowardly. But the little mouse said: ‘Although I am young and weak, I have boundless supernatural power, skillful tongue and foresight. I will steal more cleverly than others. &amp;quot;The mice hurriedly asked: &amp;quot;How can you do that?&amp;quot; The little mouse said: &amp;quot;I won't learn from them to steal directy. I just changed my body and turned into a taro, rolled in the taro pile. In that way people can't see me. Then I will secretly carry the taros, and gradually they were exhausted. Isn't this more clever than stealing directly? All the mice heard this, and they all said, &amp;quot;It's indeed a wonderful way, but how can you change yourself into a taro? Can you show us now? let's see!&amp;quot;The little mouse listened and said with a smile: &amp;quot;This is not difficult, wait for me!&amp;quot; After speaking, he said: &amp;quot;Change! &amp;quot;She has turned into the most beautiful girl in this world. The mice laughed and said:&amp;quot;it’s wrong, it’s wrong. Originally you said that you would turn into fruit, why did you turn into a girl?&amp;quot; The little mouse appeared, and smiled: &amp;quot;I said you hadn't seen the world, because you only recognized that it was a taro, but you didn't know that master Lin's daughter was the real fragrant jade. &amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:00, 11 October 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081529	吴婧悦	女==&lt;br /&gt;
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黛玉听了，翻身爬起来，按着宝玉笑道：“我把你这个烂了嘴的！我就知道你是编派我呢。”说着便拧。宝玉连连央告：“好妹妹，饶了我罢，再不敢了。我因为闻见你的香气，忽然想起这个故典来。”黛玉笑道：“饶骂了人，你还说是故典呢。” 一语未了，只见宝钗走来，笑问：“谁说故典呢？我也听听。”黛玉忙让坐，笑道：“你瞧瞧，还有谁？他饶骂了，还说是故典。”宝钗笑道：“哦！是宝兄弟哟，怪不得他，他肚子里的故典本来多么。就只是可惜一件：该用故典的时候儿，他就偏忘了。有今儿记得的，前儿夜里的芭蕉诗就该记得呀，眼面前儿的倒想不起来。别人冷的了不得，他只是出汗。这会子偏又有了记性了。”黛玉听了，笑道：“阿弥陀佛！到底是我的好姐姐。你一般也遇见对子了。可知一还一报，不爽不错的。”&lt;br /&gt;
刚说到这里，只听宝玉房中一片声吵嚷起来。&lt;br /&gt;
未知何事，下回分解。&lt;br /&gt;
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Mascara Jade Forest listened, turned over and got up, she laughed at Precious Jade and said: “ Why you love to gossip so much? I knew that you were making fun of me.” She said and tweaked his ear. Precious Jade hastened to say that: “ my dear sister, forgive me please, I dare not do it again. Because I smelt your scent, and suddenly remembered this literary allusion.” Mascara Jade Forest smiled and added: “ You spout insults but said that it is an allusion.” Didn’t finish saying, while Precious hairpin came in, she also smiled and said: “ Who is telling allusions? I want to know, too.” Mascara Jade Forest offered her seat to Precious hairpin , and said: “ Look! Who else? He spout insults, but said they are allusion.” Precious hairpin added with a smile: “ Oh! It is brother Precious Jade, it’s none of his business, because he knew a lot of allusions,  but it is a pity that he didn’t remember the allusion when it needed. He should have remembered the Plantain poem, but didn’t remember the allusion before him. The others were so cold, but he only sweated, and this time he unexpectedly had a good memory.” Mascara Jade Forest listened to her, laughing: “ God! You exactly my good sister. Now you also meet with your opponent. It is true that measure for measure.” By this time, Precious Jade‘s room rang out a noise. Unknown what had happened, it will be told in the next chapter.&lt;br /&gt;
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Daiyu heard, turned over and got up, she laughed at Baoyu and said: “ Why you love to gossip so much? I know that you are making fun of me.” She said and tweaked his ear. Baoyu hastened to say that: “ my dear sister, forgive me please, I dare not do it again. Because I smelt your scent, and suddenly remembered this literary allusion.” Daiyu smiled and added: “ You spout insults but said that it is an allusion.” Didn’t finish saying, while Baochai came in, she also smiled and said: “ Who is telling allusions? I want to know, too.” Daiyu offered her seat to Baochai, and said: “ Look! Who else? He spout insults, but said they are allusion.” Baochai added with a smile: “ Oh! It is brother Baoyu, it’s none of his business, because he knew a lot of allusions,  but it is a pity that he didn’t remember the allusion when it needed. He should have remembered the Plantain poem, but didn’t remember the allusion before him. The others were so cold, but he only sweated, and this time he unexpectedly had a good memory.” Daiyu listened to her, laughing: “ God! You are exactly my good sister. Now you also meet with your opponent. It is true that measure for measure.” By this time, Baoyu’s room rang out a noise. Unknown what had happened, it will be told in the next chapter. --[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:20, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081533	谢庆琳	女==&lt;br /&gt;
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花解语──解：理解，领会。 语本“解语花”，出自五代·王仁裕《开元天宝遗事·卷下·解语花》：“秋八月，太液池有千叶白莲，数枝盛开，帝(唐玄宗)与贵戚宴赏焉。左右皆叹羡。久之，帝指贵妃示于左右曰：‘争如我解语花！’”(争：怎。)原指唐玄宗把杨贵妃比做善解人意的鲜花。引申以比喻善解人意的美女。曹雪芹化用为“花解语”，则变为美女善解人意；而“花”又为袭人之姓，则“花解语”就是花袭人善解人意。&lt;br /&gt;
玉生香──玉：指林黛玉。 生香：散发出香气。语或本“活色生香”，出自唐·薛能《杏花》诗：“活色生香第一枝，手中移得近青楼。”原形容杏花呈现出生机盎然的美丽颜色，散发出沁人心脾的香气。引申以形容女子的天生美貌和芳香气息。这里用以形容林黛玉的天生美貌和芳香气息。&lt;br /&gt;
“Hua Jie Yu” - &amp;quot; Jie&amp;quot;: to understand, to comprehend. The phrase is from Wang Renyu's &amp;quot;The Legacy of Kaiyuan Tianbao - Volume 2 - The Flower of Explanation&amp;quot;: &amp;quot;In the eighth month of autumn, there were a thousand leaves of white lotus in full bloom at the Taiyan Pond. The Emperor (Tang Xuanzong) and his noble relatives enjoyed the feast, and all the people around him admired them. After a long time, the emperor pointed to the noble princess and showed her to the left and right, saying: 'Compete with me to interpret the flowers!'&amp;quot; (Strive: how.) Originally, Emperor Tang Xuanzong compared Yang Guifei to an understanding flower. This is a metaphor for a beautiful woman who understands people. Cao Xueqin's use of the word &amp;quot;Hua Jie Yu&amp;quot; is a metaphor for a beautiful woman who understands people's feelings; and since &amp;quot;Hua&amp;quot; is also the surname of Assailant, &amp;quot;Hua Jie Yu&amp;quot; means that Hua Assailant understands people's feelings. “Jade is fragrant” - “Jade” refers to Lin Daiyu. The name of the poem is &amp;quot;Jade&amp;quot;. The phrase is derived from the poem 'Apricot Blossoms' by Xue Neng: &amp;quot;The first branch of apricot blossoms is in living colour and fragrance, and the hand has moved close to the green tower.&amp;quot; The original description is that the apricot blossoms are of a vibrant and beautiful colour, emitting a refreshing fragrance. It is also used to describe the natural beauty and fragrance of a woman. Here it is used to describe the natural beauty and fragrance of Lin Daiyu.&lt;br /&gt;
--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:02, 29 September 2021 (UTC)&lt;br /&gt;
“Hua Jie Yu” - &amp;quot; Jie&amp;quot;: to understand, to comprehend. The phrase is from five dynasties and ten years ·Wang Renyu's &amp;quot;The Legacy of Kaiyuan Tianbao - Volume 2 - The Flower of Explanation&amp;quot;: &amp;quot;In the eighth month of autumn, there were a thousand leaves of white lotus in full bloom at the Taiye Pond. The Emperor (Tang Xuanzong) and his  relatives enjoyed the beautiful scenery, and all the people around him admired them. After a long time, the emperor pointed to Yang Guifei（his wife）and showed her to the left and right, saying: 'Compete with me to interpret the flowers!'&amp;quot; (Strive: how.) Originally, Emperor Tang Xuanzong compared Yang Guifei to an understanding flower. This is a metaphor for a beautiful woman who understands people. Cao Xueqin used  the word &amp;quot;Hua Jie Yu&amp;quot; as a metaphor for a beautiful woman who understands people's feelings; and since “Hua” is also the surname of Aroma, “Hua Jie Yu” means that “Aroma Hua” understands people's feelings. “Yu Sheng Xiang” - “Yu”(Jade) refers to Mascara Jade Forest. “Sheng Xiang”- exude fragrance. Or it could be called ''Huo Se Sheng Xiang''.The phrase is derived from the poem 'Apricot Blossoms' by Xue Neng: &amp;quot;The first branch of apricot blossoms is in living colour and fragrance, when got it in hand has moved close to the brothel.&amp;quot; The original description is that the apricot blossoms are of a vibrant and beautiful colour, emitting a refreshing fragrance. It is also used to describe the natural beauty and fragrance of a woman. Here it is used to describe the natural beauty and fragrance of Mascara Jade Forest.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 03:24, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081552	张怡然	女==&lt;br /&gt;
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掷骰(t óu投)子——是一种游戏，即互掷骰子，以点数多少决输赢。 骰子：游戏或赌博用具。多用兽骨制成，为立体小方块，六面分别刻以一、二、三、四、五、六点，一、四点涂以红色，其馀涂以黑色，故又称“色子”。相传为曹操之子曹植发明。&lt;br /&gt;
《丁郎认父》──取材于小说《升仙记》的弋阳腔剧目。写明代杜文学因受奸相严嵩迫害，流落湖广，入赘胡丞相府，与前妻所生子丁郎曲折相认的故事。&lt;br /&gt;
《黄伯央大摆阴魂阵》──或作《黄伯英大摆阴兵阵》。是由《七国春秋平话》改编的地方戏目。写燕国大将乐毅请师父黄伯央(《七国春秋平话》作“黄伯杨”)下山摆设阴魂阵围困齐将孙膑，最后两国讲和的故事。&lt;br /&gt;
Cast the dice - is a game in which two people cast in turn, using the size of the dice to determine the winner. Dice: a game or gambling device.Most of them are small cubes made of animal bones, six sides are engraved on one, two, three, four, five, six points, one and four coated into red, and the rest is also black, so the dice is  called again ''Shai zi''.It is said to be invented by Cao Zhi, the son of Cao Cao. &lt;br /&gt;
''Ding lang got acquainted with his father''-- based on the novel ''Sheng Xian Ji'' yiyang repertoire. It tells the story of a man named Du Wenxue in the Ming Dynasty, who was forced to live in Huguang area because of the persecution of Yan Song, the adulterous phase. He entered the residence of Prime Minister Hu and met ding Lang, the son of his ex-wife with twists and turns.&lt;br /&gt;
''Huang Boyang's Great display of ghosts'' ─ or ''Huang Boying's great display of died soldiers''. It is a local opera adapted from ”The story collection of the Seven Kingdoms In the Spring and Autumn Period”. It tells the story of the  state of Yan general Yue Yi please master Huang Boyang (''The story collection of the Seven Kingdoms In the Spring and Autumn Period'' for ''Huang Boyang'' ) Down the mountain set up the ghost array besiege Qi general Sun Bin， finally the last two countries  peace story.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 15:47, 28 September 2021 (UTC)&lt;br /&gt;
Cast the dice - is a game in which two people cast in turn, using the size of the dice to determine the winner. Dice: a game or gambling device.Most of them are small cubes made of animal bones, six sides are engraved on one, two, three, four, five, six points, one and four coated into red, and the rest is coated into black, so the dice is also called 'Shai zi''.It is said to be invented by Cao Zhi, the son of Cao Cao. &lt;br /&gt;
''Ding lang got acquainted with his father''-- based on yiyang repertoire of the novel ''Sheng Xian Ji''. It tells the story of a man named Du Wenxue in the Ming Dynasty, who was forced to live in Huguang area because of the persecution of Yan Song, the adulterous phase. He entered the residence of Prime Minister Hu and met ding Lang, the son of his ex-wife with twists and turns.&lt;br /&gt;
''Huang Boyang's Great display of ghosts'' ─ or ''Huang Boying's great display of died soldiers''. It is a local opera adapted from ”The story collection of the Seven Kingdoms In the Spring and Autumn Period”. It tells the story of the  state of Yan general Yue Yi please master Huang Boyang (''The story collection of the Seven Kingdoms In the Spring and Autumn Period'' for ''Huang Boyang'' ) Down the mountain set up the ghost array besiege Qi general Sun Bin， finally the last make peace between the two countries.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 10:26, 29 September 2021 (UTC)&lt;br /&gt;
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==亚非语言文学	202120081509	刘越	女==&lt;br /&gt;
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香玉──典出唐·温庭筠《晚归曲》：“弯堤弱柳遥相瞩，雀扇团圆掩香玉。”原比喻美女散发的香气和洁白如玉的肌肤。这里是把玉石的“玉”和林黛玉的“玉”合为一体，以比喻美女林黛玉。&lt;br /&gt;
《孙行者大闹天宫》──京剧和地方戏均有此剧目，取材于小说《西游记》。写孙悟空跟随唐僧前大闹天宫的故事。&lt;br /&gt;
《姜太公斩将封神》──京剧和地方戏均有此剧目，取材于小说《封神演义》。写姜太公助周灭商后斩将封神的故事。 按：以上四剧皆为闹剧，隐寓宁国府子弟粗俗不堪。&lt;br /&gt;
献酬──亦作“献醻”。指酒席上主宾互相敬酒。《诗经·小雅·楚茨》：“献醻交错，礼仪卒度，笑语卒获。”郑玄笺：“始主人酌宾为献，宾既酌主人，主人又自饮酌宾曰醻。”&lt;br /&gt;
行令──即行酒令。是一种宴会中助兴的游戏。其方法是：由一人任令官，按一定规矩行令，违令或按令该饮者都要饮酒。&lt;br /&gt;
Sweet jade -- classic tang · Wen Tingjun late homing song : &amp;quot;Bent dike weak willow distant look, bird fan reunion mask sweet jade.&amp;quot; Originally used as a metaphor for beauty to send out fragrance and white jade skin. Here, the &amp;quot;jade&amp;quot; of jade and the &amp;quot;jade&amp;quot; of  Mascara Jade Forest are combined as a whole to compare the beauty Lin Daiyu.  &lt;br /&gt;
Monkey King Makes Havoc in Heaven-- a play in Both Beijing and local operas, based on the novel 'Journey to the West.' It tells the story of Sun Wukong who caused havoc in heaven before he followed Tang Priest. &lt;br /&gt;
Jiang Taigong beheaded a General and canonized a God. This play is used in Both Beijing Opera and local opera, and is based on the novel Creation of the Gods(Fengshen Yanyi). Write the story of Jiang Taigong, who helped Zhou destroy the Shang dynasty and then beheaded the generals and sealed the gods. The author explains: the above four plays are farce, alluding to the vulgar children of the Ningguo mansion.&lt;br /&gt;
献酬（Make toasts）─ can also be said  献醻. Refers to the banquet guests toasting each other. The Book of  Songs· xiaoya ·chuets : &amp;quot;The host and the guest toast each other, the etiquette completely conforms to the law, then a word and a smile are appropriate natural.&amp;quot; Zheng Xuanjian: &amp;quot;First, the host toasts to the guests. After the guests drink the wine revered by the host, the host drinks it, which is called making toasts .&amp;quot; &lt;br /&gt;
Order -- that is, order to drink. It's a fun game at a banquet. Its method is: by a person as an officer, according to certain rules of the order, the violation or according to the order of the drinker to drink.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 10:26, 29 September 2021 (UTC)&lt;br /&gt;
Here is the &amp;quot;jade&amp;quot; of Jade and Lin Daiyu &amp;quot;jade&amp;quot; into one--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:38, 29 September 2021 (UTC)&lt;br /&gt;
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==亚非语言文学	202120081550	张秋怡	女==&lt;br /&gt;
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家生子儿——奴仆在主子家生养的子女。清代规定家奴之子女必须为奴，世代如此。清·赵翼《陔馀丛考·家生子儿》：“奴仆在主家所生子，俗谓家生子。按《法苑珠林》记庸岭有大蛇为患，都尉令长求人家生婢子及有罪家女祭之，‘家生’之名见此。”(按：《法苑珠林》为唐·释道世撰。)又《汉书·陈胜传》“秦令少府章邯免骊山徒、人奴产子”唐·颜师古注：“奴产子，犹今人云家生奴也。”“家生奴”即“家生子”。可知“家生子”或“家生奴”之称至少在唐代已有。&lt;br /&gt;
卖倒的死契——指双方约定卖出后不能赎身、必须终生为奴的卖身契。 卖倒：犹“卖定”、“卖死”。不可变更或反悔之意。&lt;br /&gt;
禄蠹——禄：身居官爵，享受俸禄。 蠹：蛀虫。 “禄蠹”或本“国蠧”，出自《左传·襄公二十二年》：“不可使也，而傲使人，国之蠧也。”意思是本无治国之才而身居高位，便是国家的蛀虫。“禄蠹”与“国蠧” 的意思基本上一样，也是指身居高位、坐享国家俸禄而不干实事的官吏。&lt;br /&gt;
Offspring - The offspring of a servant in his master's house.The Qing Dynasty stipulated that the children of domestic slaves must be slaves,from generation to generation so.Qing · Zhaoyi “Gai Yu Cong Kao·The offspring of a servant in his master's house”：“A son born to a slave in his master's house is called a son of the family. according to the story in the Pearl forest of Fayuan that there was a snake in yongling, the commander ordered the family to give birth to maidservants and guilty family female sacrifice, the name of ‘Jia Sheng’ can be seen here.”(according to: the Pearl forest of Fayuan was written for Tang· Shi Daoshi.) Also in The Book of Han · Biography of Chen Sheng, “The Qin Dynasty sent Zhang Han to pardon those who had served in mount Lishan for crimes and the sons born to house slaves”Tang · Yan Shigu notes: “Slaves give birth to children, and is also slaves”.“family born slave” is “family born child”. It can be known that “family born son” or “family born slave” had been known at least in the Tang Dynasty.Dead deed of sale refers to the deed of sale in which both parties agree that they cannot redeem themselves and must be slaves for life. Sell down:  “sell it” and “sell it to death”.The meaning of not changing or repentance.“LU DU”-Lu：official status, enjoy the salary. Du：moth. “Ludu” or  “Guodu” from “Zuo Zhuan · Xianggong 22 years”: “do not make, but proud to make people the worm of the nation.It means that if you are in a high position without the ability to govern a country, you are the moth of the country. “Ludu” and “Guodu” basically the same meaning, also refers to a high position, enjoy the state salary and do not work officials.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 01:29, 29 September 2021 (UTC)&lt;br /&gt;
--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:47, 11 October 2021 (UTC)&lt;br /&gt;
Annotation:&lt;br /&gt;
First:The common term for a son born to a slave in his master’s house is a family son.&lt;br /&gt;
Second:It means that if you are in a high position without the ability to govern a country,you are the moth of the country.&lt;br /&gt;
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==亚非语言文学	202120081524	王逸凡	女==&lt;br /&gt;
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明明德——头一个“明”为动词。彰明、弘扬之意。 明德：美德，至德，完美的道德。 语出《礼记·大学》：“大学之道，在明明德，在亲民，在止于至善。”意思是弘扬完美的道德。这里是指贾宝玉只肯定包括《大学》在内的《四书》(《论语》、《大学》、《中庸》、《孟子》)是正经书，其他书都要不得。&lt;br /&gt;
魔星——曹雪芹的原作为“天魔星”，显然是借用了佛家和道家的“天魔”之说。佛家说“天魔”为欲界第六天主。如《楞严经》卷九说：“或汝阴魔，或复天魔。”又《百喻经·小儿得大龟喻》说：“邪见外道，天魔波旬，及恶知识，而语之言，汝但极意六尘，恣情五欲，如我语者，必得解脱。”道家则说“天魔”为天上的魔怪。如《云笈七签》卷四说：“有经无符，则天魔害人。”这里的“魔星”则为冤家之意。&lt;br /&gt;
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Mingmingde-The first Ming is a verb which means obviousness, clearness or carrying forward and the word  Mingde means virtue,supreme virtue,perfect morality. The Book of  Rites·Great learningnsaid that The way of a university lies in being clear and virtuous, being close to the people and being perfect. It means to promote perfect morality. Precious Jade Merchant only affirmed The Four Books including Great learning. (Analects,Great Learning,The Doctrine of the Mean, Mencius) are the proper scriptures and the other books are not acceptable.&lt;br /&gt;
Devil star—Cao Xueqin's original as heaven devil star apparently borrowed Buddhism and Taoism’s doctrine of heaven devil.Buddhists say that demons are the sixth god of desire.For example,volume 9 of the Surangama Sutra says, Either you cast shadows or you recover demons from heaven.And Buddhist parables said Evil sees the outside world,the sky is full of demons,and evil knowledge.But as you speak,you will be free from your desires.Taoism says that demons of heaven are demons in the sky.Such as Cloud gupta seven signs volume 4 said there is no sign,then the devil harm people.The devil star here is the meaning of enemy.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 12:34, 30 December 2021 (UTC)&lt;br /&gt;
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Laba Porridge-Originated from what Buddhism calls &amp;quot;Buddha Bathing Day&amp;quot;. According to legend, Sakyamuni was born on the eighth day of the fourth month of the lunar calendar. Therefore, since the Han Dynasty, every Buddhist temple has held commemorative activities on this day. , &amp;quot;Buddhist Bathing Festival&amp;quot; or &amp;quot;Buddha Day&amp;quot;. &amp;quot;The Book of the Later Han Dynasty·Tao Qian Biography&amp;quot; said:&amp;quot; Every time Buddha baths, to provid alms and rice to the road.&amp;quot;In the Southern Dynasties Liang Zongmo's &amp;quot;Jingchu Sui Shi Ji&amp;quot; said: &amp;quot;April 8th, all monasteries Set up a fast, bath the Buddha with five-color perfume, and make Longhua Hui together. According to &amp;quot;The Biography of the Eminent Monk&amp;quot;: ‘On April 8th, to bathe the Buddha, use Duliang incense as blue water, tulip as red water, Qiulong incense as white water, aconite incense as yellow water, benzoin as black water, to infuse the top of the Buddha. ’&amp;quot;In the Song Dynasty, the day of Sakyamuni’s Buddhahood, the eighth day of the twelfth lunar month, was the &amp;quot;Buddha Bathing Day.&amp;quot; Every time this day, all the temples held commemorative activities, not only followed the alms, bathing Buddha and other items, but also added laba porridge, known as &amp;quot;Buddha Bathing Day.&amp;quot; &amp;quot;On the eighth day of the lunar New Year, three or five monks and nuns in the streets chanted Buddha in teams. They would sit on a gold, bronze or wooden Buddha statue in a silver or bronze saro or a good basin. They would soak it in perfume and shower it with the branches of a tree and intended for the edification of the masses. The great monasteries served as bathing buddhas, and gave seven treasures and five flavors porridge and disciples, called &amp;quot;laba porridge&amp;quot;. Since then every families also cooks porridge with fruit and miscellaneous ingredients. &amp;quot;Since then, the phase has become a common practice, and it has not faded to this day.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:47, 11 October 2021 (UTC)&lt;br /&gt;
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Laba congee - Originated from a festival which calls “Buddha Bathing Day” in Buddhism. According to legend, Sakyamuni was born on the eighth of forth lunar month. Therefore, on this day, every Buddhist temple will hold activities since Han Dynasty. People will practice alms all over the place, and wash Buddha statues with water full of spices, which is called “Buddha Bathing Day”, “Buddha Bathing Festival” or “Buddha Buddhism Day”. “Book of Later Han Dynasty · Tao Qian Biography” said: “Every time Buddha baths, there are more drinking and rice to the homeless people. And Liang Zongmo, the author of “Jingchu Sui Shi Ji”, said: “April 8th, all monasteries set up a fast, bath the Buddha with five-color perfume, and make Longhua Hui together.”&lt;br /&gt;
According to “The Biography of the Eminent Monk”: “On April 8th, people use Duliang incense as blue water, Yujin incense as red water, Qiulong incense as white water, Fuzi incense as yellow water, and Anxi incense as black water, to infuse the top of the Buddha”. In Song Dynasty, the day when Sakyamuni became a Buddha, the eighth of twelfth lunar month, was the &amp;quot;Buddha Bathing Day.&amp;quot; On that day, all Buddhist temples held the activities which called “Buddha Bathing Activities”, not only followed the traditional items, but also added Laba congee. The folks also follow the example and eat Laba congee. We can see these things from “DongJingMengHualu·Volume Ten·December”, a book written by Meng in Song Dynasty: three or five monks and nuns in the streets chanted Buddha in teams. They would sit on a gold, bronze or wooden Buddha statue in a silver or bronze saro or a good basin. They would soak it in perfume and shower it with the branches of a tree and intended for the edification of the masses. The great monasteries served as bathing buddhas, and gave seven treasures and five flavors porridge and disciples, called ‘Laba congee’. Since then every families also cooks porridge with fruit and miscellaneous ingredients.” Since then, the phase has become a common practice, and it has not faded to this day.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:55, 11 October 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210929_homework&amp;diff=134999</id>
		<title>20210929 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210929_homework&amp;diff=134999"/>
		<updated>2021-12-30T14:06:40Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 翻译学	202120081506	刘胜楠	女 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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[[20210929_homework|homework of session 1 for session 2 Sep 29]]&lt;br /&gt;
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IN PREPARATION&lt;br /&gt;
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专业班级名称	学号	 姓  名	性别&lt;br /&gt;
==语言智能与跨文化传播研究	202120081535	徐敏赟	男==&lt;br /&gt;
This is the homework of 徐敏赟.--[[User:Root|Root]] ([[User talk:Root|talk]]) 12:41, 26 September 2021 (UTC)&lt;br /&gt;
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清初时期的汉籍（书）翻译及其文化沟通意涵&lt;br /&gt;
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摘要：清初之际，统治者虽以武力立国，但社会的主导意识形态尚未形成，国家的“治统”与“道统”尚未确立。为了匡扶社稷，教化臣民，探求君主治术，建构符合国家需求的集体价值观，统治者积极组织汉书翻译，促进文化交流，增进民族和解。&lt;br /&gt;
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The Translation of Chinese Books in the Early Qing Dynasty and its Cultural Communication Implications&lt;br /&gt;
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Abstract: At the beginning of the Qing Dynasty, the ruler established the country by force, but the dominant social  ideology has not yet been formed. Besides, the country's &amp;quot;ruling&amp;quot; and &amp;quot;moral  orthodox&amp;quot; have not yet been established either. In order to help the community, educate the people, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Chinese books actively, which helped promote cultural exchanges and enhance national reconciliation.&lt;br /&gt;
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The Translation of the Han Classics in Early Qing Dynasty and its Implications for Cultural Communication&lt;br /&gt;
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Abstract: At the beginning of Qing Dynasty, the ruler established the country by force, but the dominant social  ideology has not yet been formed. Besides, the country's &amp;quot;governance&amp;quot; and &amp;quot;moral  orthodoxy&amp;quot; have not yet been established neither. In order to help the community, educate the people, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Chinese books actively, which helped promote cultural exchanges and enhance national reconciliation.--[[User:Root|Root]] ([[User talk:Root|talk]]) 12:44, 29 September 2021 (UTC)&lt;br /&gt;
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The Translation of the Han Classics in Early Qing Dynasty and its Implications for Cultural Communication&lt;br /&gt;
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Abstract: At the beginning of the Qing Dynasty, the ruler established the country by force, but the dominant social ideology has not yet been formed. Besides, the country's &amp;quot;governance&amp;quot; and &amp;quot;moral  orthodox&amp;quot; have not yet been established either. In order to rectify and sustain the society, educate the subjects, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Han Classics actively, which helped promote cultural exchanges and enhance national reconciliation.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:31, 8 October 2021 (UTC)&lt;br /&gt;
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==语言智能与跨文化传播研究	202120081536	颜静	女==&lt;br /&gt;
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作为清初文化事业的重要组成部分，汉书翻译有着明确的选择标准，实用主义色彩浓厚，主要关注汉族的文治教化与典章制度，将翻译与政要相关联，反对浮华藻饰的翻译。组织上，汉书翻译以官方为主，以民间为辅，译书者既有兼通满、汉双语之旗人，又有八旗科举考试之及第者，这些人既是文化交流的管理者，又是实践者，代表了统治阶级意欲沟通满汉的主观愿望。成效上，汉书翻译不仅促进了新生政权的制度建设，而且为统治者建构政权合法性做出了贡献。&lt;br /&gt;
As an important part of cutural undertakings in early Qing dynasty, the translation of Han Shu had clear selection criteria and strong pragmatism. It focused on cultural education and institutions of Han nationality, associated the translation with politics and opposed flashly one. Organizationally,Han Shu was translated mainly by officials, and then public people. The translators contained not only the Eight Banners' People who mastered both Manchu and Chinese language, but also those who passed the Eight Banners imperial examination. These people were administrators of cultural exchanges, and also practicers, representing that the ruling class was willing to communicate the Manchu and Han people. In effect, the translating of Han Shu promoted the institutional construction of new regime, and also contributed to the rulers for constructing the regime legitimacy.&lt;br /&gt;
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As an important part of cutural undertakings in early Qing dynasty, the translation of Han Shu had clear selection criteria and strong pragmatism. It (mainly) focused on cultural education and institutions of Han nationality, associated the translation with politics and opposed flashly one(embellishments). Organizationally,Han Shu was translated mainly by officials, and then (by) public people. The translators contained not only the Eight Banners' People who mastered both Manchu and Chinese language, but also those who passed the Eight Banners imperial examination. These people were administrators of cultural exchanges, and also practicers, representing that the ruling class was willing to (intended to) communicate the Manchu and Han people. In effect(As a result), the translating of Han Shu promoted the institutional construction of new regime, and also contributed to the rulers for constructing the regime legitimacy.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:06, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081484	杜莉娜	女==&lt;br /&gt;
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导论：凡国家之建立，必有立国精神和主导意识形态，以及相应之文化政策。&lt;br /&gt;
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早在天聪年间，清太宗便为新政权提出文武并用的战略构想，既强调以武功勘祸乱，又主张以文教佐太平，提出了文化统制与文化建设的独到见解。顺治十年，世祖章皇帝订定崇儒重道之政策，并以此为基础构建了兴文教、崇经术的治国理念。&lt;br /&gt;
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Introduction: The establishment of any countries must need the national spirit ,dominant ideology and  appropriate cultural policies.&lt;br /&gt;
As early as the year of Tiancong, Hong Taiji put forward the strategy of combining education and force for the new regime. He emphasized to calm down the chaos by force and to keep the peace by civilian. And he came up with unique insights into cultural unification and cultural development as well. During the first decade of Shunzhi, the emperor made the policies of respecting Confucianism and Taoism, and from this the concepts of governing like prospering education and worshipping scriptures were built.&lt;br /&gt;
--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 16:07, 28 September 2021 (UTC)&lt;br /&gt;
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1、“文武并用”应该更侧重于“文化”，译为culture；&lt;br /&gt;
2、“以文教佐太平”中的文教可译为cultural education；&lt;br /&gt;
3、“and from this the concepts of governing like prospering education and worshipping scriptures were built.”此句可用定从，which served as a basis of …&lt;br /&gt;
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:25, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081490	胡舒情	女==&lt;br /&gt;
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自此以后，虽然清代历朝统治者在关注满、汉文化交流时，不免对汉人进行打压，但也同时对汉族文化进行宣扬与推广。&lt;br /&gt;
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清初统治者在构建“治统”与“道统”的过程中，围绕“崇儒重道”，衍生出众多文化政策实举，如科举取士、博学鸿词等，而汉籍经史的翻译与编纂也是其中重要内容。汉籍翻译是清代文化事业的重要组成部分，是清代民族关系与文化政策的重要载体，它和满清政权的其它文化活动一样，在功能上相互关联，彼此补充，为促进民族之间的相互了解，维护王朝体系的稳定发展，做出了重要贡献。&lt;br /&gt;
Since then, although all the dominators of Qing dynasty would squash the Han people when focusing on cultural exchange between Manchu and Han, they also propagated and promoted the Han culture at the same time. The dominators of early Qing dynasty implemented numerous cultural policies around the idea of “respecting and emphasizing Confucianism” during the progress of constructing Monarchism and statesmanship, which included imperial examinations, erudite and an important part - compilation and translation of Han classics and history. Its translation formed Qing’s cultural undertakings as necessary parts and served as a carrier of Qing’s ethnic relations and cultural policies. It was the same as other cultural activities of Qing dynasty. They related to and complemented each other, which made a contribution to promoting mutual understanding among peoples and maintaining the stable development of the dynastic system.&lt;br /&gt;
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:26, 30 September 2021 (UTC)&lt;br /&gt;
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Since then when it comes to Man and Han culture communication, all the dominants of Qing dynasty would freeze Han people but also promoted their culture at the same time.&lt;br /&gt;
During the process of constructing Monarchism and statesmanship, the dominators of early Qing dynasty implemented numerous cultural policies around the idea of “respecting and emphasizing Confucianism”,which included imperial examinations, erudite etc. and also compilation and translation of Han classics and history as an important content. Translating Han classic is an important part of Qing culture and the critical carrier of its ethnic relationship and cultural policies. Like other cultural activities it related to each other functionally and made great contributions to ethnic communication and the solid development of Qing dynasty.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:18, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081491	黄锦云	女==&lt;br /&gt;
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作为汉籍翻译的管理者和实践者，译者们承担了沟通满、汉文化的历史使命，其所翻译的汉族书籍不仅有效增进了旗人对于汉文化的了解，而且为新生政权进行制度建设，以及合法性的建构发挥了历史性作用。&lt;br /&gt;
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一 满洲前身时期的汉籍翻译&lt;br /&gt;
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满洲的前身系女真，语言文字上属阿尔泰语系。&lt;br /&gt;
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As the manager and practicer of translating Han's books, translators take charge of the historial mission to combine Manchu cultrue and Han cultrue.  Their translations not only enhance the Bannermen to know Han cultrue, but also play a historical role in forming a new regime and conlidating its validity.--Translation of Han's books before Manchu period&lt;br /&gt;
Manchurians originates from Nvzhen race, and their language and character belongs to Altaic languages.&lt;br /&gt;
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As managers and practitioners of translation of Han's books, the translators undertake the historical mission of cultural communication between the Manchu nationality and the Han nationality. Their translations of Han's books not only efficiently improve the Manchu's understanding of Han culture, but also play a historical role in system construction for new regime and legal construction. &lt;br /&gt;
-- Translation of Han's books before the Manchu period&lt;br /&gt;
Manchurians originate from Nvzhen race, and their language belongs to Altaic language.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:11, 9 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081495	邝艳丽	女==&lt;br /&gt;
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满族和历史上的女真族一样，原本没有自己的语言，记事时需要借用其他民族文字。《金史》中说：“初无文字，国势日强，与邻国交好，迺用契丹字。”[ 杨家骆：《金史》，台北：鼎文书局，1985年，第1684页。] 金朝立国后，初期的内、外公文几乎都用契丹文书写，金太祖本人也擅长契丹语。&lt;br /&gt;
As Jurchen in the history, the Manchu nationality did not have its own language, and they needed to use other national characters when making a memorandum. &amp;quot;The Jin dynasty did not have their own characters, but with its increasing development and its need to deal with the relation with neighbouring country, then used Khitan characters&amp;quot; said in ''The History of Jin Dynasty''[Yang Jialuo: ''The History of Jin Dynasty'',Taipei: Dingwen Publishing House, 1985, p.16884] After Jin Dynasty was established, the official documents inside and outside the court were nearly written with Khitan characters, even the Emperor Taizu of Jin Dynasty was skilled in using Khitan language.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Li Aixuan|talk]])09:41, 29 September 2021 (UTC)&lt;br /&gt;
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As Jurchen in the history, the Manchu nationality did not have its own language. Therefore, keeping a record of events depended on the characters of other nation. Said in The History of Jin Dynasty, &amp;quot;the Jin dynasty did not have their own characters, but with its increasing development and its need to deal with the relation with neighbouring country, then used Khitan characters&amp;quot;. [Yang Jialuo: The History of Jin Dynasty,Taipei: Dingwen Publishing House, 1985, p.16884] After the establishment of Jin Dynasty, the official documents at home and abroad were nearly written in  Khitan characters, even the Emperor Taizu of Jin was skilled in using Khitan characters.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:34, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081496	李爱璇	女==&lt;br /&gt;
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然而，契丹语与金人女真语差距较大，因而金太祖命完颜希尹、叶鲁依据汉人楷字，并参照契丹字制度，创制适合本族的语言文字“女直文”。天辅（金太祖年号）三年，女直文依诏令颁行，称“女直大字”。二十年后，即1138年，金熙宗完颜亶又命人参照契丹字，创制并颁布另一种女直文字，即“女直小字”。&lt;br /&gt;
However, there was a huge gap between the Khitan language and the Jurchen language. Therefore, the Emperor Taizu of Jin ordered Wanyan Xiyin and Ye Lu to create a language suitable for their own people, Jurchen script, based on the Han regular script and referring to the Khitan script system. In the third year of the period of Tianfu (the reign title of Emperor Taizu of Jin), according to the edict, the Jurchen script was enacted as &amp;quot;Jurchen Large Script&amp;quot;. In 1138, twenty years later, Wanyan Dan, the Emperor of Xizong, ordered someone to create and enact another kind of Jurchen script, namely &amp;quot;Jurchen Little Script&amp;quot;, referring to the Khitan script system.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:15, 29 September 2021 (UTC)&lt;br /&gt;
However, there was a big gap between Khitan language and Jin Nuzhen language. Therefore, Jin Taizu ordered Wanyan Xiyin and Ye Lu to create a language suitable for their own nationality &amp;quot;Jurchen script&amp;quot;, according to the regular script of Han people and with reference to the Khitan character system. In the third year of Tianfu (the year of emperor Taizu of Jin Dynasty), Jurchen script was issued in accordance with the imperial edict, known as &amp;quot;Jurchen Large Script&amp;quot;. Twenty years later, in 1138, Jin Xizong,  Wanyan Dan ordered people to create and promulgate another Jurchen script, namely “Jurchen Little Script&amp;quot;, according to the Khitan character.— Li Xichang&lt;br /&gt;
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==英语语言文学（语言学）	202120081502	李习长	男==&lt;br /&gt;
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金世宗继位后，在推动女直文字的使用上，力度更大，举措更丰。如大定（金世宗年号）四年，金世宗令翰林侍讲学士徒单子温等用女直大、小字，翻译经书。女直文字的创制，对金朝翻译汉书影响巨大，而汉书翻译又影响了金朝的政治制度与国家治理。&lt;br /&gt;
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After Jin Shizong succeeded to the throne, he made greater efforts and took more measures to promote the use of nvzhi characters. For example, in the fourth year of Dading (the year of Jin Shizong), Jin Shizong ordered the Imperial College to teach the bachelor's Apprentice Shan Ziwen to translate scriptures in large and small characters. The creation of nvzhi characters had a great impact on the translation of Chinese books in the Jin Dynasty, which in turn affected the political system and national governance of the Jin Dynasty.&lt;br /&gt;
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After Jin Shizong succeeded to the throne, he made greater efforts and took more measures to promote the use of nvzhi characters. For example, in the fourth year of Dading (the year of the region of emperor Jin Shizong), he ordered his disciple Shan Ziwen and other Shijiang academicians of Hanlin to translate Confucian Classics in Jurchen large and small scripts. the creation of Jurchen script had a great impact on the translation of Chinese books in the Jin Dynasty, and that, in turn, the Chinese books  affected the political system and national governance of the Jin Dynasty.—[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 03:39, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081519	邱婷婷	女==&lt;br /&gt;
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如大定五年，金世宗命徒单镒翻译《贞观政要》和《白氏策林》等书，次年徒单子温将译本进呈皇帝。大定七年，《史记》和《西汉书》等翻译成书，金世宗敕令刊刻颁行。大定十五年，金世宗再令翻译各部经书，由温迪罕缔达（著作佐郎）、宗璧（编修官）、阿鲁（尚书省译史）、杨克忠（史部令史）等负责对译本进行注解。&lt;br /&gt;
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For example, in the fifth year of Dading (the year of the region of emperor Jin Shizong), the emperor ordered his disciple Shan Yi to translate The Political Program of Zhen Guan and Bai Shi Ce Lin, etc. Then emperor Shizong received the translations submitted by another disciple named Shan Ziwen in the next year. In the seventh year of Dading, the Records of  the Grand Historian and the book of the Western Han Dynasty were translated into books, which were printed and issued by the royal decree of emperor Shizong. What’s more, he released an order again translating several Confucian classics which were annotated by Wendihan Dida （assistant of Zhu Zuolang）， Zong Bi（ BianxiuOfficer), A Lu( translator of history of Department of State Affairs ), Yang Kezhong( Lingshi of the Ministry of Official Personnel Affairs ) etc.&lt;br /&gt;
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Annotation:&lt;br /&gt;
1.Zhu Zuolang: A person whose responsibility is to compile historical works.&lt;br /&gt;
2.Bianxiu: The official name, first placed in the Song Dynasty, is mainly responsible for the revision and compilation of documents.&lt;br /&gt;
3.Lingshi: Official name; the general name of petty officials in the government since the song and Yuan Dynasties.—[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 16:58, 28 September 2021 (UTC)&lt;br /&gt;
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For example, in the fifth year of Dading (the year of the region of emperor Jin Shizong), the emperor ordered his disciple Shan Yi to translate ''The Political Program of Zhen Guan'' and ''Bai Shi Ce Lin'', etc. Then emperor Shizong received the translations submitted by another disciple named Shan Ziwen in the next year. One year later,''the Records of  the Grand Historian'' and ''the book of the Western Han Dynasty'' were translated into books, which were printed and issued under the royal decree of emperor Shizong. What’s more, he released an order again translating various kinds of Confucian classics, and put Wendihan Dida （assistant of Zhu Zuolang）， Zong Bi（ BianxiuOfficer), A Lu( translator of history of Department of State Affairs ), Yang Kezhong( Lingshi of the Ministry of Official Personnel Affairs ) etc.in chagrge of the annotation of the translations of these books.&lt;br /&gt;
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Annotation:&lt;br /&gt;
1.Zhu Zuolang: A person whose responsibility is to compile historical works.&lt;br /&gt;
2.Bianxiu: The official name, first placed in the Song Dynasty, is mainly responsible for the revision and compilation of documents.&lt;br /&gt;
3.Lingshi: Official name; the general name of petty officials in the government since the song and Yuan Dynasties.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:00, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081520	饶金盈	女==&lt;br /&gt;
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金世宗在位期间，朝廷设立译经所，专司汉文经史的翻译。期间，所译汉书除上述几种之外，另有《易》、《书》、《论语》、《老子》、《孟子》、《扬子》、《文中子》、《刘子》以及《新唐书》等。之所以翻译这些书籍，是因为金世宗希望女直人了解汉人的仁义道德，以利于治国安邦。&lt;br /&gt;
During the reign of Wan Yanyong, the fifth emperor of the Jin Dynasty, the imperial court set up a sutra translation office to specialize in the translation of scriptures and historical materials written in classical Chinese. Meantime, in addition to the above-mentioned Chinese books, there were also ''Yi'', ''Shu'', ''the Analects of Confucius'', ''the Laozi'', ''the Mencius'', ''the Yangzi'', ''the Wenzhongzi'', ''the Liuzi'' and ''the New Book of Tang Dynasty''. The reason why these books were translated was that Wan Yanyong hoped that the Jurchen people would get some knowledge of the humanity, justice, and morality of Han people by reading these books, so as to develop a prosperous and stable country.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:05, 28 September 2021 (UTC)&lt;br /&gt;
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During the reign of Emperor Jin Shizong,the imperial court set up a classics translation office concentrating on the translation of Chinese classics. During this period,apart from translating the above-mentioned Chinese classics, they also translated &amp;quot; Yi&amp;quot;, &amp;quot;Shu&amp;quot;, &amp;quot;the Analects of Confucius&amp;quot;, &amp;quot;Laozi&amp;quot;, &amp;quot;Mencius&amp;quot;, &amp;quot;Yangzi&amp;quot;, &amp;quot;Wenzhongzi&amp;quot;, &amp;quot;Liuzi&amp;quot; and &amp;quot;New Book of Tang&amp;quot;, etc. The reason why Jin Shizong chose these classics was that he hoped that Nuzhi people could know the virtue and morality of Chinese by reading these classics. And then he could rule the nation better and build a stable society. -- Yang Aijiang (talk) 21.57. 11 October 2021&lt;br /&gt;
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==英语语言文学（语言学）	202120081541	杨爱江	女==&lt;br /&gt;
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然而，当时的女直字与汉字不能直接对译，中间需要经过转译为契丹字。为解决这一问题，金章宗在位期间，诏设弘文院，命人译写儒家经典并讲解。旋即，又废止契丹字，要求嗣后汉文典籍直接译为女直字，以省去须经契丹字转译的中间环节。&lt;br /&gt;
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However, it was not feasible to translate Nvzhi characters into Chinese characters at that time. And it needed to be translated into Khitan characters first. During the reign of Emperor Jin Zhangzong, he set up Hongwen Academy and commanded his ministers to translate and explain Confucian classics in order to figure out the language problem. Besides, Jin Zhangzong abolished its use of Khitan characters and demanded that the Chinese classics should be translated in Nvzhi characters directly, omitting taking advantage of the translation of Khitan characters as a bridge.&lt;br /&gt;
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However,  Nvzhi characters could not be directly translated into Chinese  without being rendered into Khitan ones first. During the reign of Emperor Jin Zhangzong, he set up Hongwen Academy and commanded his ministers to translate and explain Confucian classics in order to figure out the language problem. Soon after, Jin Zhangzong abolished the use of Khitan characters and demanded that the Chinese classics should be translated into Nvzhi characters directly, avoiding the intermediate step of using Khitan characters.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 13:37, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081547	殷美达	女==&lt;br /&gt;
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金朝政权覆灭之后，虽然留居东北故地的少数女直上层人士尚能娴习女直文，但女直字作为一种语言逐渐失传。明朝政府设置“四夷馆”后，又延人专习女直字，以应付中央与地方政府，或中央与藩属地之间的通译需要。虽然如此，女直语的凋落已成定势。&lt;br /&gt;
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二 太祖时期汉籍（书）翻译之“始”&lt;br /&gt;
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After the collapse of Jin Dynasty, a small number of upper class Nuzhen people who still lived in northeastern China were proficient in Nuzhen language, but its words were being lost gradually. The Ming Dynasty, when setting up &amp;quot;Academy of Eastern Minorities &amp;quot;, hired particular people to study Nuzhen language to meet the needs of communication and translation between the central and local governments or its dependent territories. Nevertheless, the decline of Nuzhen language had become a foregone conclusion. &lt;br /&gt;
Second, the initial translation of Chinese books during the reign of the first emperor of Qing Dynasty.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:46, 30 December 2021 (UTC)&lt;br /&gt;
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After the collapse of the Jin Dynasty, although a small number of Nuzhen upper class people living in Northeast China were very proficient in Nuzhen language, Nuzhen characters have been gradually lost. Having set up the Si-yi-guan, the Ming Dynasty hired people to specially learn Nuzhen characters to meet the needs of translation between the central government and local governments or its affiliated places. Nevertheless, the decline of Nuzhen language is inevitable.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 01:18, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081557	周巧	女==&lt;br /&gt;
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明朝万历年间，努尔哈赤率部崛起之时，作为女直后裔的满族并无文字。那时，文移往来必须靠蒙古语的学习与翻译才能完成。为满足文移往来，记注政事的需要，并解决“今我国之语，必译为蒙古语读之，则未习蒙古语者，不能知也”的问题，清太祖努尔哈赤于明万历二十七年，命额尔德尼、噶（gá）盖等改制国书（即，国家的语言文字），以改变满人说女真语却写蒙古字的尴尬局面。[ 明珠等奉敕修：《清实录·太祖高皇帝实录》，北京：中华书局，1986年，第2页。]&lt;br /&gt;
In the wanli period of Ming Dynasty, when Nurhachi led the rise of the Manchu, as a straight descendant of Jurchen, it had no written words. At that time, the exchange of letters had to rely on Mongolian learning and translation to complete. For recording the  political affairs and solving  the problem that &amp;quot;Nowadays, the language of our country have to be translated into Mongolian to read, otherwise  people can’t understand it without the learning of it. In the wanli 27 years of Ming Dynasty, Emperor Nurhachi（the first founder of Ming Dynasty） ordered Erdeni, Gagai and etc to reform credentials (namely the national language), which is to change the embarrassing situation of Manchu speaking Jurchen language while writing Mongolian. Beijing: Zhonghua Book Company, 1986, p. 2.&lt;br /&gt;
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During the Wanli period of Ming Dynasty, when Nurhachi led the rise of the Manchu, the Manchu, as the straight descendant of Jurchen, had no written words . At that time, the exchange of letters had to rely on Mongolian learning and translation. In order to meet the need of exchange of letters, recording and annotating the  political affairs as well as solving  the problem that &amp;quot;Nowadays, the language of our country have to be translated into Mongolian to read, and the people who do not learn Mobolian can't understand it.&amp;quot;, in the Wanli 27 years of Ming Dynasty, Emperor Nurhachi（the first founder of Ming Dynasty） ordered Erdeni, Gagai and etc to reform credentials (namely the national language), which aimed to change the embarrassing situation that Manchu speaking Jurchen language while writing in Mongolian. Beijing: Zhonghua Book Company, 1986, p. 2.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:16, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081561	朱素珍	女==&lt;br /&gt;
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自此，满洲的语言和文字渐趋一致。然而问题在于，此时创制的满洲语言（老满文）系参照畏兀儿体老蒙文字母，而蒙古与女真语音原本存在差异，借用的蒙文字母未必能充分传达女真语言的意义。如太宗皇太极在评价老满文时所说，“书中寻常语言，视其文义，易于通晓”，但“至于人名、地名，必致错误。”[ 中国第一历史档案馆、中国社科院历史研究所译注：《满文老档》，北京：中华书局，1990年，第1196页。]&lt;br /&gt;
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From then on, the languange and the forms in Manchurian language are gradually consistant. However, the problem is that the Manchurian language(Old Manchu) was created with the guidance of Uighur Old Mongolia alphabets, and there exist original difference between Mongolia and Jurchen pronunciation. Therefore, the borrowed Mongolian alphabets could not explicitly express the meaning of Jurchen language. Just as what the great emperor Taizong Hoang Taiji said when he evaluated Old Manchu: &amp;quot;You can easily understand the meaning of the ordinary language in a book written in Old Manchu. However, in terms of the name of people and places, the Old Manchu would lead you to misunderstanding without any doubt.&amp;quot;     (Translated by The First Historical Archives of China and Institute of Chinese Social History :''Manchu Old File'',Peking:Zhonghua Book Company,1990, page 1196.) &lt;br /&gt;
   Annotation:&lt;br /&gt;
   1. Jurchen: an ancient nationality in China&lt;br /&gt;
   2.Uighur(畏兀儿体/古维吾尔语): the earliest Mongolian Chinese characters&lt;br /&gt;
   3. Old Manchu:the language used by ancient Machurian&lt;br /&gt;
   4. Manchurian: the founder of Qing Dynasty&lt;br /&gt;
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From then on, the languange and the characters in Manchurian language are gradually consistant. However, the problem is that the Manchurian language(Old Manchu) was created with the guidance of Uighur Old Mongolia alphabets, and there existed original difference between Mongolia and Jurchen pronunciation. Therefore, the borrowed Mongolian alphabets could not explicitly express the true meaning of Jurchen language. Just as what the great emperor Taizong Hoang Taiji said when he evaluated Old Manchu: &amp;quot;You can easily understand the meaning of the ordinary language in a book written in Old Manchu. However, in terms of the name of people and places, the Old Manchu would lead you to misunderstanding without any doubt.&amp;quot; (Translated by The First Historical Archives of China and Institute of Chinese Social History :“Manchu Old File'',Peking:Zhonghua Book Company,1990, page 1196.) --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 05:10, 3 October 2021 (UTC)Chen Huini&lt;br /&gt;
   Annotation:&lt;br /&gt;
   1. Jurchen: an ancient nationality in China&lt;br /&gt;
   2.Uighur(畏兀儿体/古维吾尔语): the earliest Mongolian Chinese characters&lt;br /&gt;
   3. Old Manchu:the language used by ancient Machurian&lt;br /&gt;
   4. Manchurian: the founder of Qing Dynasty&lt;br /&gt;
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==英语语言文学（英美文学）	202120081479	陈惠妮	女==&lt;br /&gt;
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为此，皇太极命“巴克什”达海对老满文加以改进，使其音、义明晓，有助于学习，形成了所谓“新满文”。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第13页。]文字虽已形成，但满人一时间几乎无书可读，原因有二：其一，此时的满文尚属草创，旗人尚不能以满语编纂书籍；其二，汉字书籍的获取极为不易。&lt;br /&gt;
面对上述情况，太祖努尔哈赤敕令在旗人中延请师傅，教子弟读书，并令达海等人以满文翻译汉文典籍。&lt;br /&gt;
Therefore, the King asked Baks Dahai to develop the Old Manchu to make its sound and meaning more clear, which maked it easier to learn. It is in this way that the so-called New Manchu was formed. [E'ertai et al. Fengxiu: &amp;quot;Records of the Qing Dynasty·Records of Emperor Taizongwen&amp;quot;, Beijing: Zhonghua Book Company, 1985, p. 13. ] Although the characters and words have been developed, the Manchu can hardly find bookes to read for two reasons. One is that the Manchu language at that time is still an initial creation. The other is that it's so hard to get the books in Chineses charaters.On the face of this situation, Taizu Nurha Chi invited masters among the bannermen to teach children to read, and ordered Dahai and others to translate Chinese classics in Manchu. --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:59, 29 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Therefore, Huang Taiji (an emperor of Qing Dynasty) instructed &amp;quot;Bakshi (a title of a scholar of Qing Dynasty)&amp;quot; Da Hai to develop the Old Manchu to the so-called &amp;quot;New Manchu&amp;quot;, which made the sound and meaning more clear and then make it easier to learn. [E'ertai et al.: Factual Record of Qing Dynasty·Factual Records of Emperor Taizongwen, Beijing: Zhonghua Book Company, 1985, p. 13. ] Although the characters and words have been formed, the Manchu for a time almost no books to read for two reasons. One is that the Manchu language at that time was still an initial creation, and the Bannermen couldn't compile with it. The other was that the acquisition of books in Chineses charaters was extremely hard.On the face of this situation, Taizu Nurha Chi invited masters among the bannermen to teach children to read, and ordered Dahai and others to translate Chinese classics into Manchu.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 10:16, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081482	程杨	女==&lt;br /&gt;
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《清史列传》中对此的记载如下：弱冠，太祖高皇帝召直文馆，凡国家与明及蒙古、朝鲜词命，悉出其手。有诏旨应兼汉文者，亦承命传宣，悉当上意。旋奉命译《明会典》及《素书》、《三略》。[ 王钟翰点校：《清史列传》，北京：中华书局，1987年，第187页。]&lt;br /&gt;
The records of Da Hai in ''the Biographies of the Qing Dynasty'' as follows: at the age of twenty, he was called into the imperial palace and served in Wen Guan (the bureaucratic ministry for translating Chinese books in the early Qing Dynasty). The naming of new words that related to the Ming Dynasty, Mongolia and North Korea were all by him to complete. He was also instructed to convey some of the Chainese-related orders totally reflecting the will of the emperor. Soon, he was asked to translate ''the Code of Ming Dynasty'', ''Su Shu''(written in Qing Dynasty), and ''San Lue''(written by Huang Shigong).[''The Biographies of the Qing Dynasty'', edited by Wang Zhonghan, Zhong Hua Book Company, 1987, pp.187.]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 03:52, 29 September 2021 (UTC)&lt;br /&gt;
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The records of Da Hai in ''the Biographies of Qing Dynasty'' as follows: at the age of twenty, he was appointed by Nurhachi①as a translator in Wen Guan②. The naming of new words that related to Ming Dynasty, Mongolia and North Korea were all by him to complete. He was also instructed to convey some of the Han's language-related orders totally reflecting the will of the emperor. Soon, he was asked to translate ''the Code of Ming Dynasty'', ''Su Shu''③, and ''San Lue''④.[''The Biographies of the Qing Dynasty'', edited by Wang Zhonghan, Zhong Hua Book Company, 1987, pp.187.&lt;br /&gt;
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Annotation:①Nurhachi:the founder of Qing Dynasty, 1559–1626. ②Wen Guan: the bureaucratic ministry for translating Chinese books in the early Qing Dynasty. ③''Su Shu'': moral principles written in Western Han Dynasty by Huang Shigong. ④''San Lue'':military monograph written in Western Han Dynasty by Huang Shigong.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:10, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081483	丁旋	女==&lt;br /&gt;
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上文中所谓《明会典》，又称《大明会典》，系明代典章制度史书，内容涉及汉族文教、历法、习俗等。与《明会典》不同，《素书》成书于西汉，并非典章著作，而是哲理之学，道家思想的智慧之作。《三略》又名《黄石公三略》，既是军事战略专论，又糅合了诸子百家思想。&lt;br /&gt;
''Code of Ming Dynasty''① mentioned above, also known as ''Code of Great Ming Dynasty'', is one historical book about laws and regulations in the Ming Dynasty, covering Education of Han②, the Chinese calendar, and custom and so on. Different from Code of Ming Dynasty, ''Su Shu''③ written in the Western Han Dynasty is a wisdom work full of philosophy and Taoism rather than law and regulations. ''Sun-Lue''④, also called Sun-Lue of Huang Shigong, is not only a military strategy monograph but a mixture of the hundred schools of thought. &lt;br /&gt;
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Annotation: &lt;br /&gt;
①''Code of Ming Dynasty'': One code about Ming’s laws and regulations in many aspects started to write in 1393 and finished in 1578.&lt;br /&gt;
②Education of Han: The education policy initiated by emperors of Ming Dynasty in order to transmit Confucianism thoughts and consolidate their reign.&lt;br /&gt;
③''Su Shu'': It is one book full of principles and truth written by Huang Shigong in the western Han Dynasty. It is used for the reign of country because of its instructive and moral function.&lt;br /&gt;
④''Sun-Lue'': It is one famous ancient military book including three parts written by Huang Shigong in the Western Han Dynasty. The military thoughts in it are critically useful and different from others because it discusses military strategies from political perspective.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 06:43, 29 September 2021 (UTC)&lt;br /&gt;
''Code of Ming Dynasty''① mentioned above, also known as ''Code of Great Ming Dynasty'', is one historical book about laws and regulations in the Ming Dynasty, covering the range of Education of Han②, the Chinese calendar, and customs and so on. Different from Code of Ming Dynasty, ''Su Shu''③ written in the Western Han Dynasty is a work full of philosophical wisdom and Taoism rather than law and regulations. ''Sun-Lue''④, also called Sun-Lue of Huang Shigong, is not only a military strategy monograph but a mixture of the hundred schools of thought.&lt;br /&gt;
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==英语语言文学（英美文学）	202120081485	付红岩	女==&lt;br /&gt;
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以上三者皆是重要的汉文典籍，清太祖令达海翻译它们，开启了清代翻译汉籍（书）之先河，其政治策略上的深刻用意不言而喻。&lt;br /&gt;
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三 太宗时期汉籍（书）翻译之“兴”&lt;br /&gt;
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太宗皇太极即位后，为鼓励旗人读书，多措并举：一方面，要求“十五岁以下，八岁以上者，俱令读书”，惩处不愿教子读书者；另一方面，为改善“无书可读”的情况，又致函朝鲜，索求汉文典籍。&lt;br /&gt;
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Since the three ancient books just mentioned above were all significant Chinese classics, Nurhaci, the Emperor in Qing Dynasty requested Dahai, the official should translate the classics into the mongolian, whose profound meaning in the aspect of political layout was very explicit.&lt;br /&gt;
Third, the interest of translating Chinese classics has reached its climax during the power of Nurhaci.&lt;br /&gt;
After NUrhaci’s coming into the power, many decrees has been enacted in attempt to encourage the people to read. On the one hand, the teenagers between 8 and 15 were allowed to read. In addition , the parents who were reluctant to support their offspring to read would be punished. On the other hand, Qing Dynasty sent a letter to Korea, in which the former asked the later to denote more Chinese classics in order to improve the predicament that the books were not enough to read.&lt;br /&gt;
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批改：译者译文总体流畅，对原文理解总体得当。以下为细节处理上的建议 &lt;br /&gt;
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1.“清太祖”一词为中国专有名词，应先查后译。清太祖指的是努尔哈赤（1616-1626），是后金第一位大汗，清朝的奠基者，太祖在位时，“大清国”还没有定鼎中原，故此时的“清”并不能算是中国的一个朝代。译者将其处理为“the Emperor in Qing Dynasty”不够严谨。&lt;br /&gt;
建议改为：Nurhaci, the Founder of Qing Dynasty&lt;br /&gt;
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2.“三 太宗时期汉籍（书）翻译之‘兴’”此处为论文小标题，首先，应当注意标题格式。结构上，原文为名词短语，译者翻译时使用英语句子的SVO（A）结构，虽然意思完整，但失去了原文的简洁。&lt;br /&gt;
词语上，“兴”强调翻译之风的兴起、盛行，译者将其处理为“reached its climax”缺乏严谨性，太宗时期不一定是汉籍翻译的高潮时期。&lt;br /&gt;
建议改为：Third The Prosperity of Chinese Classics Translation During the Power of Nurhaci&lt;br /&gt;
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3.“十五岁以下，八岁以上者，俱令读书”&lt;br /&gt;
词语上，“令”是主动要求的意思，译者将其处理为“be allowed”，即被允许读书的可能性，读与不读似乎都是可以接受的。结合后文“惩处不愿教子读书者”，说明“令”是强制的。“be allowed”不能精准传达出原文清政府对旗人读书的鼓励与强制性。&lt;br /&gt;
结构上，原句省略了主语（清政府），原意为：清政府要求十五岁以下，八岁以上的人都得读书。译者将主动结构改为了被动结构，突出强调了实施对象。&lt;br /&gt;
建议改为：The teenagers between 8 and 15 were asked to read.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:20, 29 September 2021 (UTC)&lt;br /&gt;
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All the above three were important Han classics, so Nurhaci, the founder of Qing Dynasty, commanded Dahai to translate them into Manchu language, which opened the floodgates to the large-scale translations of Han classics and its profound political meaning was explicit.&lt;br /&gt;
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Third The Prosperity of Chinese Classics Translation During the Power of Nurhaci&lt;br /&gt;
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After Abahai, the son of Nurhaci, coming into power, many decrees has been issued to encourage people to read and study. On the one hand, hand, teenagers between 8 and 15 were asked to study, and their parents would be punished if they were unwilling to educate their children; On the other hand, in order to avoid the scarcity of Han classics, Qing Dynasty sent a written request to Korea for a generous lending.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:43, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081497	李瑞洋	女==&lt;br /&gt;
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《朝鲜王朝实录·仁祖实录》中写道：“闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。”[ 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第38页。]可见，皇太极此时想要借阅的并非汉文原书，而是汉籍的金、元译本，即女真语和蒙古文译本。对此，朝鲜政府方面虽然进行了回应，但态度并不热忱：见索《诗》、《书》、《四书》等书籍，此意甚善，深嘉贵国尊信圣贤，慕悦礼义之盛意。&lt;br /&gt;
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As mentioned in ''King Injo the Great'', one of the volumes in ''Annals of the Korean Dynasty'' “We heard your country have ''the Four Books'' and other classics including ''The Book of Poetry'' and T''he Book of History'', which were translated in Jin Dynasty and Yuan Dynasty, so we sincerely hope your generous lending of these books.” [National History Compilation Committee: ''Annals of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973,P38] Obviously, at this time what Huang Taiji wanted to borrow was not the original Chinese book, but the Jin and Yuan translations, namely the Jurchen and Mongolian versions. Although Korean officials responded to this request, they were not very willing: It is very nice of you to ask for the Four Books and other classics including ''The Book of Poetry'' and ''The Book of History'', and we really appreciate your country’s popularity of respecting men of virtue and advocating courtesy and justice.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 02:19, 29 September 2021 (UTC)&lt;br /&gt;
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It was recorded in ''King Injo the Great'', a volume of ''Annals of the Korean Dynasty'', that “We have heard your country have classics like ''The Book of Songs'', ''The Book of History'' and ''the Four Books'' , which were translated in Jin and Yuan Dynasties, so we sincerely hope for your generous lending of these books to us.”  [National History Compilation Committee: ''Annals of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, 38.]&lt;br /&gt;
Obviously, what Huang Taiji wanted to borrow at that time were not the original Chinese books, but the translated versions of Jin and Yuan periods, namely the Jurchen and Mongolian versions. Although Korean officials respondedt, they didn't give a active response: It is glad to receive your borrowing request of these books, and we do appreciate your country’s deeds of respecting men of virtues and advocating courtesy and justice.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:28, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081498	李姗	女==&lt;br /&gt;
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第国中所有，只是天下通行本，而金、元所译，则曾未得见，兹未能奉副，无任愧歉。[ 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第62页。]&lt;br /&gt;
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由于未能索得属意书籍，皇太极遂令达海继续翻译，后者于天聪六年开始翻译《通鉴》、《六韬》、《孟子》、《三国志（通俗演义）》，以及《大乘经》等。只可惜，由于达海英年早逝，上述书籍未能译竟。&lt;br /&gt;
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The one that existed in the great empire was just a general version that circulated all over the country.（* But the one that existed in the whole country was just a general version.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)） As the translating versions of Jin and Yuan were not publicized yet, it's a pity that their works were not able to be offered to the emperor.（* However, the translated versions in Jing Dynasty and Yuan Dynasty hadn't published yet.It's a pity that their works were not able to be offered to the emperor.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC))  [National History Compilation Committee: ''Records of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, 63.]&lt;br /&gt;
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Failing to obtain desired translation versions,the first emperor of Qing dynasty, ordered Dahai to continue his translation work. And in the sixth year of Huangtaiji's rule (the year of 1632), Dahai began to translate ''History as a Mirror'', ''The Six Arts of War'', ''The Records of Three Kingdoms'' as well as  ''Mahayana Sutra'' and so forth. [* ''Tong Jian'' ( a history book), ''Liu Tao'' ( a military book), ''Mencius''，''Records of the Three Kingdoms'' and ''Dacheng Jing'' ( a book about Buddhism) --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)]  Unfortunately, the translation of these books was not finished as a result of Dahai's early death.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 12:46, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081500	李文璇	女==&lt;br /&gt;
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清初之际，达海被满洲“群推为圣人”，他翻译的汉文书籍对于拓展满族的知识范围，甚为关键。[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第58页。]《清实录·太宗文皇帝实录》中说：其平日所译汉书，有《刑部会典》、《素书》、《三略》、《万宝全书》俱成帙。（天聪六年）时方译《通鉴》、《六韬》、《孟子》、《三国志（通俗演义）》及《大乘经》，未竣而卒。&lt;br /&gt;
In the early Qing Dynasty, Dahai was regarded as a sage by the people of Manchuria. The Chinese books translated by him was significant for extending the knowledge. In the book ''Memoir of the Qing Dynasty'' for the Emperor Taizong, it recorded that the books Dahai had translated, including ''Records of Ministry of Punishment'', ''Su Shu'' ( a book about Taoism), ''San Lue'' ( a military book), ''Wan Bao Quan Shu'' ( a book about daily life), all of which had been compiled into volumes. In 1632, he translated ''Tong Jian'' ( a history book), ''Liu Tao'' ( a military book), ''Mencius''，''Records of the Three Kingdoms'' and ''Dacheng Jing'' ( a book about Buddhism). However, he died without finishing these books.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:26, 28 September 2021 (UTC)--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:38, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081501	李雯	女==&lt;br /&gt;
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初我国未深谙典故，诸事皆以意创行，达海始用满文，译历代史书，颁行国中，人尽通晓。惟我太祖天纵聪明，因心肇造，所行皆与古圣贤同符默契。达海与额尔德尼应运而生，实佐一代文明之治云。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第10页。]&lt;br /&gt;
In the beginning, our country was not familiar with the ancient books and stories, so everything began by &amp;quot;thoughts&amp;quot;. Since Dai Hai began to use Man Character to translate historical books of the past dynasties and promulgated it in our country, it has become universal among public. Only my great Grandfather, gifted and wise, created from the heart, and acted in accordance with the ancient sages. So the Dai Hai and E Erdeni came into being following the tendecy, who help to create this generation of civilization.[E ertai,ect compiling by order of the Emperor;The record of Emperor Taizong in Qing Danasty,Beijing,Zhonghua Book Company,1985,Page 10.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:36, 29 September 2021 (UTC)&lt;br /&gt;
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In the beginning, our country established things at will without the study of ancient classics. They were not well-known to the public until Da Hai translated historical books of the past dynasties in Manchu and promulated them in the country. Only the Emperor Taizu, who founded the dynasty on his own way, was so gifted and wise that what he had done was exactly  accordance with the ancient sages.In reasponse to the call of the times, Da Hai and Erdeni came into being and helped to create this generation of civilization.[E ertai,ect compiling by order of the Emperor;''The Record of Emperor Taizong in Qing Danasty'',Beijing,Zhonghua Book Company,1985,Page 10.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:49, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081505	刘沛婷	女==&lt;br /&gt;
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如前所述，《明会典》、《素书》、《三略》等书的翻译始于太祖时期，但成书于天聪四年，其余书籍的翻译则为时稍晚。综观达海译书，既有《孟子》之类所谓“知正心、修身、齐家、治国”者，又有《素书》、《三略》和《六韬》等“益聪明智识，选练战攻的机权”者，以及《通鉴》等“知古来兴废事迹”者，他的翻译“实佐一代文明之治”。&lt;br /&gt;
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以《刑部会典》（又称《明会典》）为例，达海译本既是天聪年间国家创制法律的依据，也是太宗推行政治改革的蓝本。&lt;br /&gt;
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As mentioned above, the translation of ''Code of Great Ming Dynasty'', ''Su Shu'' and ''Three Policies'' began in the reign of Taizu but was completed in 1630. The other books were translated a little later. Da Hai's translations covered abundant eminent men, such as those in ''Mencius'' who make their minds just, morality cultivated, families regulated and the country governed orderly, and those with extrodinary intelligence and knowledge of training and combat in ''Su Shu'', ''Three Policies'' and ''Six Strategies'', as well as the men knowing the rise and fall of ancient times in ''Comprehensive Mirror for Aid in Government''. Therefore, his translations did promote the rule of civilization.&lt;br /&gt;
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Taking ''Code of Ministry of Penalty'' (also called ''Code of Great Ming Dynasty'')as an example,Da Hai's translations were not only the basis for establishing laws during the period of Tiancong, but also the blueprint for the political reforms carried out by Taizong.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 15:25, 28 September 2021 (UTC)&lt;br /&gt;
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As mentioned above, the translating of ''Code of Great Ming Dynasty'', ''Su Shu'' and ''Three Policies'' began during the reign of Taizu but was completed in 1630, the fourth year under the reign of Taizong. Other books were translated at a later time. Given that in Da Hai's translations exist abundant eminent men, such as those in ''Mencius'' who make their minds just, morality cultivated, families regulated and the country governed orderly, and those with extrodinary intelligence and knowledge of training the military in ''Su Shu'', ''Three Policies'' and ''Six Strategies'', as well as the men comprehending the ups and downs experienced by  dynasties in the past in ''Comprehensive Mirror for Aid in Government'', his translations did promote the governance under civilization.&lt;br /&gt;
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Taking ''Code of Ministry of Penalty'' (also called ''Code of Great Ming Dynasty'')as an example,Da Hai's translations were not only the basis for establishing laws during the period of Tiancong, but also the blueprint for the political reform carried out by Taizong.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 02:46, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081508	刘晓	女==&lt;br /&gt;
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太宗素有“振兴文治”的愿望，不仅创制了作为清代考试制度之滥觞的生员和举人考试，而且使巴克什、笔帖式制度臻于成熟，二者合力使得汉籍翻译的风气渐开：一方面，作为“巴克什”或“笔帖式”，希福、尼堪、刚林、苏开等人先后奉敕“（翻）译汉字书籍”或“记注国政”；另一方面，太宗以自古国家“以文教佐太平”为由，令满人争相读书，从生员中选取“文艺明通者优奖之”。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第14页。]&lt;br /&gt;
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在对待前朝即明代的问题上，太宗采取“讲和”与“自固”并行的政策，但其本人向往中原汉族文化，所谓“性嗜典籍，披览弗卷”即是这一情况的体现。&lt;br /&gt;
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Holding the idea to &amp;quot;revitalize the administration by education and culture&amp;quot;, Taizong not only created examinations from which the examination system of Qing Dynasty originated, for xiucai and juren, those who have passed in the exam at the county and provincial level respectively, but also made the Baksh and Bithesi system reach a mature state. Together, the two measures  promoted the translation of books written in Chinese. On one hand, Xifu, Nikan, Ganglin and Su Kai, as  &amp;quot;Bakshs&amp;quot; or&amp;quot;Bithesis&amp;quot;, successively &amp;quot;translated  Chinese books&amp;quot; or &amp;quot;annotated state affairs&amp;quot; by the order of the emperor. On the other hand, by saying that countries applied the education and culture to safeguarding the stablization since ancient times, Taizong urged people to scramble to study, and then awarded those from xiucai &amp;quot;who mastered literature and arts&amp;quot;. (''Records of Qing Dynasty· Emperor Taizong'', edited by Ertai, officials in the Qing Dynasty, Beijing: China Publishing House, 1985, P14.)&lt;br /&gt;
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In dealing with the treatment of the previous dynasty, that is Ming Dynasty, Taizong adopted the policy of &amp;quot;settling a dispute&amp;quot; and &amp;quot;self-consolidation&amp;quot;. But he himself yearned for the Chinese culture of the Central Plains, which is embodied by the so called expression &amp;quot;Loving Chinese works and reading Buddha volumes.&amp;quot;&lt;br /&gt;
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Revised version：&lt;br /&gt;
Holding to the idea of &amp;quot;revitalizing the empire by education and cultural development&amp;quot;, Taizong not only established shengyuan and juren exams（exams at the county and provincial level perspectively） initiating the imperial examination system of Qing Dynasty, but also brought the Baksh and Bithesi system to a mature state. Together, the two measures brought about the upsurge in translation of Han books. On the one hand, Xifu, Nikan, Ganglin and Su Kai, as &amp;quot;Bakshs&amp;quot; or&amp;quot;Bithesis&amp;quot;, successively &amp;quot;translated Han books&amp;quot; or &amp;quot;annotated state affairs&amp;quot; by the order of the emperor. On the other hand, in the name of the national tradition of ensuring stabilization by education and cultural development, Taizong urged Man people to read and those shengyuan who stands out for their familiarity with literature and arts were awarded. (The Memoir of Qing Dynasty· Emperor Taizong, edited by Ertai, officials in the Qing Dynasty, Beijing: China Publishing House, 1985, P14.)&lt;br /&gt;
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In dealing with the treatment of the former dynasty, namely Ming Dynasty, Taizong resorted to the policy of “peace negotiation” and &amp;quot; self-consolidation&amp;quot; in parallel. However, Taizong himself yearned for the Central Plains culture of Han, and the expression “a voracious reader of Han and Buddhist classics” can properly manifests it. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 07:53, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081510	刘运心	女==&lt;br /&gt;
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于是，太宗诏令儒臣翻译汉书，并命金、汉之人阅读。[ 同上，第2页。]太宗深知，汉文典籍言微而义大，其精要者不仅涉及帝王治平之道，而且涉及正心、修身、齐家之理。但汉文典籍数量庞杂，翻译时必须有所选择。&lt;br /&gt;
Therefore, Taizong issued an order asking the civilian official to translate Han books and all the Han and Jin people are required read those. (Ibid., p.2) Taizong knew well how brief and profound Han classics were. Their essence not only involves the governess of the country and its people, but also discusses inner integrity, decent behavior and family harmony. Nevertheless, a great number and variety of Han classics means what to be translated needs selection.&lt;br /&gt;
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Therefore, Taizong ordered Confucian officials to translate Han books, while all the Han and Jin people were required to read those. (Ibid., p.2) Taizong knew well that Han classics were sublime works with deep meaning, whose essentials included not only the method of statecraft, but also self-cultivation and family regulation. Nevertheless, among a great number of Han classics, there must be an extraction.&lt;br /&gt;
--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 02:14, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081511	罗安怡	女==&lt;br /&gt;
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如天聪六年九月，王文奎奏请从读书笔帖式内，选取“伶俐通文者”一、二人，并从秀才内选取“老成明察者”一、二人，令其“讲解翻写”。天聪九年三月二十一日，仇震向太宗谏言，要求从汉人中选取精通经、史者二、三人，并从金人中选取熟悉字法者三、四人，将各经史典籍及《通鉴》（即《资治通鉴》）中“有裨君道”的精要部分“集为一部”，日日讲解，以便统治者在翻译、日讲中学习汉族文化，以及治世之道。[ 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第24-25、115页。]固然，对于汉文典籍与汉族文化，太宗并非全盘接受，而是辩证地加以吸收。&lt;br /&gt;
For instance, in September, 1632, the sixth year of  T'ien-ts'ung (the first reign title of Emperor Taizong of Qing Dynasty), Wang Wenkui wrote to His Majesty, advising that they should elect one or two &amp;quot;literates who were skilled at writing and translation&amp;quot; from the bithesi, and one or two  &amp;quot;scholars who were learned and perspicacious&amp;quot;, for &amp;quot;teaching, interpretation, and translation&amp;quot; of Han classics. On March 21st, 1635, the ninth year of  T’ien-ts'ung,  Chou Zhen advised Emperor Taizong to elect two or three Han people who were proficient in lections and  historical records, and three or four Jin people who were familiar with 字法. These scholars should choose essentials from classics and ''The Zizhi'' (''The Zizhi Tongjian'') , which benefits the ideas of ruling power of feudal emperors,  and compile them into one book. Also they should discourse the compiled thoughts frequently, in which the ruler could learn the Han culture and method of statecraft. [Zhenyu, Luo .(罗振玉),《天聪朝臣工奏议》，Beijing：China Renmin University Press, 1989, P24-25, P115.] Of course, Taizong did accepted  Chinese classics and han culture critically and dialectically.&lt;br /&gt;
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For instance, in September, the sixth year of Tian Cong(the first reign title of Emperor Taizong of Qing Dynasty), Wang Wenkui wrote to His Majesty to pick up one or two who are &amp;quot;talented in literature” and pick up one or two who are &amp;quot;sophisticated and insightful&amp;quot;from the scholars for &amp;quot; interpretation, and translation&amp;quot; of Han classics. On March 21st, 1635, the ninth year of  T’ien-ts'ung,Qiu Zhen advised Emperor Taizong to pick up two or three Han people who were proficient in lections and  historical records, and three or four Jin people who were familiar with grammer to let them choose the essence which are benefical to the reign from classics and ''The Zizhi'' (''The Zizhi Tongjian'')   and compile them into one book.After that,they should illuminate the compiled thoughts every day, which is beneficial to the study of the ruler about the Han culture and ruling ways. [Zhenyu, Luo .(罗振玉),《天聪朝臣工奏议》，Beijing：China Renmin University Press, 1989, P24-25, P115.] Definitely speaking, Taizong did accepted  Chinese classics and han culture critically and dialectically.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:24, 29 September 2021 (UTC)(Luo Xi罗曦）&lt;br /&gt;
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==英语语言文学（英美文学）	202120081512	罗曦	女==&lt;br /&gt;
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如天聪九年五月，上谕文馆诸臣：朕观汉文史书，殊多饰辞，虽全览无益也。今宜于《辽》、《宋》、《金》、《元》四史内，择其勤于求治而国祚昌隆，或所行悖道而统绪废坠，与夫用兵行师之方略，以及佐理之忠良、乱国之奸佞，有关政要者，汇纂翻译成书，用备观览。至汉文正史之外，野史所载，如交战几合，逞施法术之语，皆系妄诞，此等书籍，传之国中，恐无知之人信以为真，当停其翻译。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第9页。]&lt;br /&gt;
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For instance，in May，the ninth year of Tian Cong，the emperor informed all the offcials in the cultural center that：I have read all those historical records in Han Dynasty filled with various ornaments，only to find that I have gotten nothing。Now you had better to pick up some references among &amp;lt;Liao&amp;gt;、&amp;lt;Song&amp;gt;、&amp;lt;Jin&amp;gt;、&amp;lt;Yuan&amp;gt; about some cases like dilligence making a prosperous country or idleness making a weak one,also,you can  pick up some military stratedies,and some information about those noble and talented citizens or traitors,and than you ought to translate all those relevence and compile them into a book prepared to be read.As for those unofficial history in Han excluded,like how many rounds did soldiers battle or the spell spoken by wizards,are all the nonsense,which will bewilder the ignorant,deserving to be prohibited from translation.{E Ertai：《清实录、太宗文皇帝实录》，Beijing：Chinese bookstore，1985，p9.}&lt;br /&gt;
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A modified version: For instance, in May 1653, the Emperor said to the ministers in Literature Institution(that is, the later Cabinet in Qing Dynasty), &amp;quot;I have leafed through the historical works in Chinese language with various ornamental rhetorics, but the complete reading of them is not beneficial. Now it is appropriate to select salient examples referred from the four historical recrods of ''Liao'', ''Song'', ''Jin'' and ''Yuan'', which will be compiled into books for later reading. These examples include those who were dedicated in governing the country thereby with a promising national development, or those who deviated from the correct path with weak administration, and the generals adept at warfare, loyal and honest servants assisting the sovereign to handle state affairs, the treacherous ones rendering the nation disorderly and chaotic as well as other relevant political workers. Meanwhile, apart from the official history, the unofficial historical works that record untrue events, like the conditions of battles, are all fabricated. If those unfavorable books are spread to the mainland, they may bewilder the ignorant and gullible individuals, thus deserving to be prohibited from translation. (E Eratai: ''Records of Qing Dynasty·Emperor Taizong'', Beijing: China Publishing House, 1985, Page9.)--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 04:47, 29 September 2021 (UTC)毛雅文&lt;br /&gt;
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==英语语言文学（英美文学）	202120081514	毛雅文	女==&lt;br /&gt;
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由上可知，在汉籍翻译的问题上，太宗讲求的是实用，希望将翻译与政要相关联，反对翻译浮华藻饰的汉文书籍，或者野史中所载不足为信者。以《刑部会典》的翻译为例，该译本的刊刻与颁行逐渐成为太宗朝的临政规范。《天聪朝臣工奏议》中说：“近奉上谕，凡事都照《大明会典》行，极为得策。”[ 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。]&lt;br /&gt;
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From here it can be seen that the Emperor Taizong put an emphasis on practicality with regard to the translation of Chinese works, hoping to associate translation with politics. He objected to the translation of Chinese books with flashy embellishments, or that of unofficial historical works recording unconvincing events. Take the translation of ''The Code of the Ministry of Penalty'' as an example. After its publication and promulgation, the tranlation of this code gradually became the norm of handling state affairs. ''The Petition of Ministers during the Reign of Tiancong'' states, &amp;quot;Recently, by the order of the Emperor, everything should be conducted in accordance with ''The Code of Ming Dynasty'', which is a desirable policy.&amp;quot; (Luo Zhenyu: ''The Petition of Ministers during the Reign of Tiancong'', Beijing: China Remin University Press, 1989, Page2.)&lt;br /&gt;
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From above it can be seen that the Emperor Taizong put an emphasis on practicality with regard to the translation of Chinese works, hoping to associate translation with politics. He objected to the translation of Chinese books with flashy embellishments, or that of unofficial historical works recording unconvincing events. Take the translation of The Code of the Ministry of Penalty as an example. After its publication and promulgation, the tranlation of this code gradually became the norm of handling state affairs. The Petition of Ministers during the Reign of Tiancong states, &amp;quot;Recently, by the order of the Emperor, everything has been conducted in accordance with The Code of Ming Dynasty, which is a desirable policy.&amp;quot; (Luo Zhenyu: The Petition of Ministers during the Reign of Tiancong, Beijing: China Renmin University Press, 1989, Page2.)--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:19, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081516	牟一心	女==&lt;br /&gt;
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宁完我也说，我国六部的设立原是照“蛮子家立的”，因而金官对于部中当举事宜原本并不知情，而今翻译《会典》（即《明会典》），参汉酌金，加以“打动”，必将使其“去因循之习”而“渐就中国之制”。[ 同上，第82页。]&lt;br /&gt;
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四 世祖时期汉籍（书）翻译之发展&lt;br /&gt;
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清初儒臣中，除额尔德尼、噶盖和达海之外，通满、蒙、汉字者不乏他人，如伊成额、希福、刚林等，便是其中姣姣者。&lt;br /&gt;
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Ning Wanwo also said that the establishment of the six ministries in feudal China was based “on that of minority nationalities”, so the officers of Jin Dynasty had no idea about the affairs in the ministries. Now the translation of Code(a record of laws and systems of a dynasty)(namely, Code of Great Ming Dynasty) must refer to both the precedents of Central China and Jin Dynasty and amend them to make it get rid of rigid traditions and turn to the conventions of Central China.[ibidem, Page 82]&lt;br /&gt;
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FOURTH  The development of Chinese literature (books) in Qing Dynasty Shunzhi period&lt;br /&gt;
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Among the civilian officials in the early Qing Dynasty, besides Erdeni, Gagai, Daher, there is no lack of masters of Manchu language, Mongolian and Chinese, such as Icher, Hifo, Galin, who were the strong performers among them.&lt;br /&gt;
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Ning Wanwo also said that the establishment of the six ministries of feudal China was based on “that of the southerners”, so Jin Guan had no knowledge of the affairs concerning the appointment in the ministries. Now the translation of Code( a record of laws and systems of a dynasty)( namely, Code of Great Ming Dynasty) must refer to both the precedents of Han and Jin Dynasty and then amend them to make it get rid of rigid traditions and gradually conform to the conventions of Central China. [ibidem, Page 82.]&lt;br /&gt;
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FOURTH  The development of Chinese literature (books) in Shizu Period &lt;br /&gt;
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Among the civilian officials in the early Qing Dynasty, besides Erdeni, Gagai, Daher, there is no lack of masters of Manchu language, Mongolian and Chinese, such as Icher, Hifo, Galin, who were the best performers of them.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:58, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081521	石丽青	女==&lt;br /&gt;
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据传，伊成额不仅将《太祖高皇帝实录》译成汉文，而且翻译了朝鲜所奏表章，以及《礼部会典》等书。[ 清高宗敕纂：《八旗满洲氏族通谱》，沈阳：辽沈书社，1989年，第10页。]希福兼通满、蒙、汉三种语言，他的翻译有别于伊成额，不是将满文译成汉语，也不是将朝鲜文译成满语，而是主要翻译汉书、汉典，所翻译的汉文书籍包括《辽》、《金》、《元》三史等。希福的上述译书于顺治元年进呈皇帝，获世祖恩赉。&lt;br /&gt;
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It is said that Yi Cheng'e translated not only the Annals of Emperor Taizu Gao into Chinese, but also the seals played by North Korea and the Book of the Ministry of Ceremonies. [ Qing Gaozong's Royal Compilation: &amp;quot;Eight Banners Manzhou Clan Genealogy&amp;quot;, Shenyang: Liaoshen Publishing House, 1989, page10.] Xifu was fluent in Manchu, Mongolian and Chinese. His translation was different from Yicheng'e. He did not translate Manchu into Chinese or Korean into Manchu, but mainly translated  Chinese books and Chinese classics, including Liao, Jin and Yuan. Xifu's translation was presented to the emperor in the first year of Shunzhi and won the honor of Shizu. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:50, 29 December 2021 (UTC)&lt;br /&gt;
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It is said that Yi Cheng'e translated not only the Factual Record of Taizu, but also the memorials presented to the emperor  by North Korea, Records of the Board of Rites, and other books. [ Qing Gaozong's Royal Compilation: &amp;quot;Eight Banners Manzhou Clan Genealogy&amp;quot;, Shenyang: Liaoshen Publishing House, 1989, page10.] Xi Fu was proficient in Manchu, Mongolian and Chinese, whose translation was different from Yi Cheng’e’s. Neither did he translate Manchu into Chineses nor Korean into Manchu, he mainly translated Chinese books and classics, including Liao, Jin and Yuan. Xi Fu’s translation was presented to the emperor in the first year of Shunzhi and won the honor of Shizu.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:14, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081523	王李菲	女==&lt;br /&gt;
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《清实录·世祖章皇帝实录》中，曾详细记载了希福进呈译本时的情形：窃稽自古史册所载，政治之得失，民生之休戚，国家之治乱，无不详悉具备，其事虽往，而可以诏今；其人虽亡，而足以镜世。故《语》云：“善者吾师，不善者亦吾师。”从来嬗继之圣王，未有不法此而行者也。&lt;br /&gt;
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In the “Records of Qing Dynasty· Emperor Fu Lin”, there was a detailed record of the situation when Xi Fu presented the translation: in the ancient records, whatever gain and loss in politics, weal and woe of people’s livelihood, or governance and chaos of countries,  they’ve all been documented in detail.  Although things have passed, they can still enlighten us. The ancestors have passed away, they can also provide references. Therefore, the “Language” said, “The heroes are my teacher, and so are the villains .” Virtuous emperors from ancient times to present have all followed this rule.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:01, 28 September 2021 (UTC)&lt;br /&gt;
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The “Records of Qing Dynasty· Emperor Fu Lin”, which once recorded in detail the situation when Xi Fu presented the translation:  As far as I am concerned, from the ancient records, the gains and losses of politics, the welfare and woe of people’s livelihood, and the governance and chaos in the country, all of which have been documented in detail.  Although things have passed, they can still enlighten us. Although the ancestors passed away, they are enough to mirror the world. Therefore, the “Language” says, “The success is my teacher, and so is the failure.” Virtuous emperors from ancient times have all followed this rule.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:01, 28 September 2021 (UTC)    Edited by Wang Zhenlong.&lt;br /&gt;
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==英语语言文学（英美文学）	202120081525	王镇隆	男==&lt;br /&gt;
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辽、金虽未混一，而辽已得天下之半，金亦得天下之大半，至元则混一寰区，奄有天下，其法令政教皆有可观者焉。我先帝鉴古之心，永怀不释，特命臣等将《辽》、《金》、《元》三史，芟（shān）削繁冗，惟取其善足为法，恶足为戒，及征伐畋（tián）猎之事，译以满语，缮写呈书。臣等敬奉纶音，将《辽史》自高祖至西辽耶律大石末年，凡十四帝，共三百七年；《金》凡九帝，共一百十九年；《元》凡十四帝，共一百六十二年，详录其有裨益者，……伏乞皇上万几之暇，时赐省览，懋稽古之德，弘无前之烈，臣等不胜幸甚。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第15-16页。]&lt;br /&gt;
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Although Liao and Jin did not mix together, Liao had already won half of the world, and Jin had also won the other half. Until the Yuan Dynasty, they were combined into one whole world,and there were considerable and available laws, politics and religions. My first emperor’s desire to learn from the ancients will never be released. I and other ministers were ordered to edit and slash the three histories of &amp;quot;Liao&amp;quot;, &amp;quot;Jin&amp;quot; and &amp;quot;Yuan&amp;quot;, but take the good part as the law, and the evil part as the precepts. And the matters of conquering and hunting, were translated into Manchu,written and presented in a book. I and others followed respectfully my Lord ‘s orders,took the history of Liao from Gaozu to the last year of Yelu Dashi of Xi Liao, where there were 14 emperors, a total of 370 years; Jin, the nine Emperors, lasted one hundred and nineteen years;Yuan recorded all the fourteen emperors for 162 years, and had careful records of those who have benefited us, ... I beg my Lord to have occasional reviews when my Lord is not dealing with country’s affairs,and to encourage your people to live up to ancient virtues and promote the unparalleled huge achievement. I and other would greatly appreciate it. [E'ertai et al. revised with imperial edict &amp;quot;Records of the Qing Dynasty·Records of Emperor Shizuzhang&amp;quot;, Beijing: Zhonghua Book Company, 1985, pp. 15-16. ]&lt;br /&gt;
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Although Liao and Jin did not unite, Liao had already occupied half of the world, so had Jin. Until Yuan Dynasty, they combined and occupied the whole country, and there were considerable and available laws, politics and religions. My previous emperor’s desire to learn from the ancients will never be released. Other ministers and I were ordered to edit and slash ''the History of Liao, Jin and Yuan Dynasty'', take merits as the principle, and learn lessons from demerits. And the matters of conquering and hunting, were translated into Manchu, written and presented in a book. We followed respectfully my Majesty ‘s orders, took ''The History of Liao Dynasty'' from Gaozu to the last year of Yelu Dashi of Xi Liao, where there were 14 emperors, a total of 370 years; ''Jin'', nine Emperors, lasted one hundred and nineteen years; ''Yuan'' recorded all the fourteen emperors for 162 years, and had careful records of those who have benefited us, ... I beg my Majesty to have occasional reviews when he is not dealing with country’s affairs, and to encourage people to observe traditional virtues and advocate the unprecedent huge achievement. We all would greatly appreciate it. [E'ertai et al. revised with imperial edict ''Records of Emperor Shizuzhang in the Qing Dynasty'', Beijing: China Book Company, 1985, pp. 15-16. ]--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:35, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081526	卫怡雯	女==&lt;br /&gt;
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上文中，不仅明确论及汉文典籍的历史作用，而且阐述了翻译这些典籍的必要性、作用与目的等，其总目标是“懋稽古之德”，以翻译佐文教，治太平。换言之，希福希望通过翻译《辽》、《金》、《元》三史等，从中原汉族王朝中借鉴国家治理经验，以接续太宗皇太极以来以经世致用为核心的翻译思想，并为嗣后翻译汉籍树立原则与典范。据《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》，以及《清代内府刻书目录解题》等综合统计，顺治年间，由官方刊刻的汉书满文译本共九种，分别是《辽史》、《金史》、《元史》、《洪武要训》、《三国志（通俗演义）》、《诗经》、《表忠录》、《孝经》（阿什坦译）和《六韬三略》。其中，顺治七年译成的《三国志（通俗演义）》既有满文本，又有满汉合璧本。&lt;br /&gt;
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As described in the above, it not only discussed the historical role of Chinese classics, but also illustrated the necessity, the function and the goal of translating these ancient books and records. The overall goal is to encourage people to observe traditional virtues, using translation to assist the country to develop culture and education. In other words, Xifu wanted to draw on the experience of state governance from Han Dynasty in the central China through translating the history of Liao, Jin, and Yuan Dynasty in order to succeed the thought of translation of administering state affairs and applying theory to practice as the core since the emperor Taizong Huangtaiji, and set up the principle and model of translating Chinese books for later generation. According to general statistics of The General Catalogue of The Best Edition and the Ancient Books and Records of Taipei's National Palace Museum, The Catalogue of World’s Manchu Literature and The Union Directory of National Manchu Books and Materials and Solving Problems in the Catalogue of Engraved Books in the Qing Dynasty, during the period of Tongzhi, there are nine Manchu translated versions of the official published Chinese books by blocking print, they are: The History of Liao Dynasty, The History of Jin Dynasty, The History of Yuan Dynasty, Hongwu Yaoxun, The Romance of Three Kingdoms, Book of Songs, The Record of Loyalty, Classic of Filial Piety(translated by Ashtan), Liu Tao and San Lue. Among them, The Romance of Three Kingdoms translated in the seventh year of Tongzhi had both Manchu version and the combined one of Chinese and Manchu.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:23, 29 September 2021 (UTC)&lt;br /&gt;
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Thereinbefore, it not only discussed the historic role of Chinese classics, but also illustrated the necessity, the function and the goal of translating these books. The overall goal is to encourage people to observe traditional virtues, using translation to develop culture and education and bring social prosperity. In other words, Xifu wanted to draw on the experience of state governance from Chinese dynasty in the central plains through translating the histories of ''Liao'', ''Jin'', and ''Yuan''. In this way, the translation idea originated from the dynasty of Huangtaiji that knowledge should benefit national affairs can be succeeded and set up the principle and model of translating Chinese books for later generation. According to the general statistics of ''The General Catalogue of the Publications and Classics of National Palace Museum'', ''The Catalogue of World’s Manchu Literature'' and ''The Union Catalogue of National Manchu Books and Materials'' and ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty'', during the period of Shunzhi dynasty, there are nine official Manchu translations of Chinese books.They are ''History of Liao Dynasty'', ''History of Jin Dynasty'', ''History of Yuan Dynasty'', ''Hongwuyaoxun'', ''Records of the Three Kingdoms'', ''Classic of Poetry'', ''Record of Loyalty'', ''Classic of Filial Piety''(translated by Ashtan), ''Liutaosanlue''. Among them, ''Records of the Three Kingdoms'' translated in the seventh year of Shunzhi dynasty has both Manchu version and the combined one of Chinese and Manchu.(revised by Wei Chuxuan)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:11, 29 September 2021 (UTC)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:59, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081527	魏楚璇	女==&lt;br /&gt;
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另外，《孝经》曾于顺治、康熙、雍正朝刊刻三次，但版本明显不同：顺治年间的刊行本为阿什坦译本，康熙年间的刊行本为和素译校本，雍正时期的版本则译者未明，仅注明“雍正皇帝敕译”。令人好奇的是，虽然世祖笃信佛教，论佛谈法，但从相关文献看，未见有顺治朝翻译的汉文经书，其中原因，不得而知。&lt;br /&gt;
What's more, ''Filial Piety'' has different publications of translation in different dynasties. In Shunzhi dynasty, the publication is Ashtan's translation. In Kangxi dynasty, the publication is Hesu's translation. In Yongzheng dynasty, the translator is unknown. It is only indicated in the publication that the translation is asked by Yongzheng emperor. Curiously according to relevant literature though Shunzhi emperor believed in Buddhism, there is no translation of Buddhist classics made in his dynasty. And the reason of this remains a mystery.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:12, 29 September 2021 (UTC)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:05, 29 September 2021 (UTC)&lt;br /&gt;
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What's more, ''Filial Piety'' has been published and printed three times in the dynasty of Shunzhi, Kangxi and Yongzheng respectively but with three obvious different versions. During the Shunzhi dynasty was the translation of Ashtan, during the dynasty of Kangxi was of Hesu and during the Yongzheng dynasty was of the unknown writer, only indicating &amp;quot;translating under the order of the emperor Yongzheng&amp;quot;. What made people curious was that although Shizu sincerely believed in Buddhism, talking about Buddhism and Buddhist doctrine, there was no Chinese Confucian classics translated during the Shunzhi Dynasty according to the relevant references. And the reason of this remains unknown.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:14, 29 September 2021 (UTC)(Wei Zhaoyan 魏兆妍）&lt;br /&gt;
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==英语语言文学（英美文学）	202120081528	魏兆妍	女==&lt;br /&gt;
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世祖年间翻译刊行的九种汉文书籍中，《六韬》、《三国志（通俗演义）》和《大乘经》等三种原系达海于天聪六年开始翻译，但由于达海早逝未能译成。三部作品中，尤以《三国志（通俗演义）》的翻译所获世祖认可为甚。《清实录·世祖章皇帝实录》中说：&lt;br /&gt;
以翻译《三国志（通俗演义）》告成，赏大学士范文程、刚林、祁充格、宁完我、洪承畴、冯铨、宋权、学士查布海、苏纳海、王文奎、伊图、胡理、刘清泰、来袞（gǔn）、马尔笃、蒋赫德等鞍马、银两有差。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第13页。]&lt;br /&gt;
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Nine kinds of Chinese literary books has been translated and published during the year of Shizu, among which Da Hai began translating three kinds of the original system of ''Liu Tao'', ''The Popular Romance of the Three Kingdoms'' and ''Mahayana Sutra'' during the sixth year of Tian Cong. However, Da Hai failed to translate them all successfully due to his early death. Among these three works, especially the translation of ''The Popular Romance of the Three Kingdoms'' has received the most approval of Shizu. Said in ''The Real Record of the Qing Dynasty · Real Record of the Emperor Shizu Zhang'': With the completed translation of ''The Popular Romance of the Three Kingdoms'', Shizu would award some side horses and silver to the Grand Master  Fan Wenching, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan and Bachelor Zha Buhai, Su Nahai, Wang Wenkui, Yi Tu, Hu Li, Liu Qingtai, Lai Gun, Ma Erdu, Jiang Hede. [ Ertai and others were ordered by the emperor to modify: ''The Real Record of Qing Dynasty · Real Record of the Emperor Shizu Zhang'', Beijing: China Publishing House, 1985, Page 13. ]--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:52, 29 September 2021 (UTC)&lt;br /&gt;
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Among the nine kinds of Chinese books translated and published during the reign of Shizu emperor , three were first translated by Da Hai in 1632, including &amp;quot;Liu Tao&amp;quot;, “The Popular Romance of the Three Kingdoms&amp;quot; and &amp;quot;Mahayana Sutra”. Yet they failed to be finished due to his early death. Of the three works, the translation of &amp;quot;The Popular Romance of the Three Kingdoms&amp;quot; received the most recognition of Shizu emperor. According to &amp;quot;The Real Record of the Qing Dynasty · Real Record of the Emperor Shizu Zhang&amp;quot;: Given the successful  translation of &amp;quot;The Popular Romance of the Three Kingdoms&amp;quot;, Shizu emperor awarded some side horses and silver to the Grand Master  Fan Wenching, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan and Bachelor Zha Buhai, Su Nahai, Wang Wenkui, Yi Tu, Hu Li, Liu Qingtai, Lai Gun, Ma Erdu, Jiang Hede, and the amount of awards depended on their position.[ Ertai and others ordered by the emperor to modify: ''The Real Record of Qing Dynasty · Real Record of the Emperor Shizu Zhang'', Beijing: China Publishing House, 1985, Page 13. ]--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 07:32, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081531	肖毅瑶	女==&lt;br /&gt;
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此次获得赏赐者共计十六人，从大学士到学士不等，既赏鞍马，又赏银两，可见其对于该书翻译的重视。值得特别注意的是，关于《三国志（通俗演义）》一书的翻译，《清初内国史院满文档案译编》中也有记载，不仅更加详实，而且内容上也与《清实录》中的记载有较大出入。为便于比较，现一并摘录如下：&lt;br /&gt;
A total number of 16 officers, varying from Grand Masters to Bachelors, were awarded saddled horses and silver, which indicated that the emperor had attached great importance to the translation of this book. Besides,  what deserves a speacial attention was that  ''Translation and Compilation of Manchu Archives of the National Institute of History in the Early Qing Dynasty'' also documented some facts about the translation of the ''Romance of Three  Kingdoms''. The records were not only more detailed but also quite different from that of the ''Factual Record of Qing dynasty''. For the convenience of comparison, both were excerpted as follows:&lt;br /&gt;
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A total number of 16 officers, varying from Grand Academcians to Bachelors, were awarded saddled horses and silver, which indicated that the emperor had attached great importance to the translation of this book. Besides,  it is worth paying speacial attention that  ''Translation and Compilation of Manchu Archives of the National Institute of History in the Early Qing Dynasty'' also documented some facts about the translation of the ''Romance of Three  Kingdoms''. The records were not only more detailed but also quite different from that of the ''Factual Record of Qing dynasty''. For the convenience of comparison, both were excerpted as follows:----[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 13:33, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081532	谢佳芬	女==&lt;br /&gt;
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以翻译《三国志（通俗演义）》告成，赏赐内翰林院大臣。赏予大学士范文程巴克什、刚林巴克什、祁充格、宁完我、洪承畴、冯铨、宋权七大臣彩鞍、雕辔（pèi）、……头等马各一匹、银各五十两。赏学士查布海、苏纳海、王文奎、伊图、胡理、清泰、来袞、马迩都、赫德九人无鞍二等马各一匹、银各四十两。&lt;br /&gt;
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 When ''Romance of the Three Kingdoms’’ having been completed，all the ministers in Hanlin Academcian were awarded. The grand secretaries  Fan Wencheng, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan were rewarded color saddle, bridle, one first-class horse and fifty liang of silver respectively. The nine scholars, Cha Buhai, Su Nahai, Wang Wenkui, Yitu, Huli, Qingtai, laigon, Ma Youdu and Hede, each have one  second-class bareback horse and forty liang of silver&lt;br /&gt;
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After the completion of “Records of the Three Kingdoms”, ministers of Hanlin Academy were awarded. Maesters including Fan Wencheng, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan were awarded with colorized saddle, bridle, a first-class horse and fifty Liang of silver respectively. Nine scholars like Cha Buhai, Su Nahai, Wang Wenkui, Yitu, Huli, Qingtai, laigon, Ma Youdu and Hede, each of them has one  second-class bareback horse and forty liang of silver respectively.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 13:45, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081534	熊敏	女==&lt;br /&gt;
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赏内弘文院主事能图、叶成格、曹皮、铿特依、杜当、布尔凯、侍讲学士吕宗烈、侍读学士张皮机、典籍官王丛庞九人银各四十两。赏博士科尔科岱、霍斯霍利、尼曼、苏和、奇同格、芒色、霍托、穆成格、周有德、必利科图、国史院博士图巴海、秘书院秦达浑臣十二人银各二十两。赏笔帖式翁国顺、额斯黑、高利、马齐蘭、乌勒扈、穆成格、必利科图、严楚蘭、阿希图、国史院笔帖式朱臣十人银各二十两。&lt;br /&gt;
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Chiefs of Hongwen Academy like Neng Tu,Ye Chengge,Cao Pi,Qiang Teyi,Du Dang, But Erkai,teacher like Lv Zonglie, attendant like Zhang Piji, manager of ancient books like Wang Congpang were rewarded forty pounds of silver respectively.Doctor Me Erkedai, Huh Sihuoli,Niman,Su He,Qi Tongge, Mang Se, Huo Tuo,Mu Chengge,Zhou Youde, Bi Liketu,Tu Bahai,Qin Dahun were all awarded 20 pounds of silver. Weng Guoshun,E Sihei,Golly, Ma Qilan,Wu Leba,Mu Chengge, Bi Liketu,Yan Chulan,A Xitu,Zhu Chen were all rewarded with 20 pounds of silver.&lt;br /&gt;
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Chief cadres of Hongwen Academy including Neng Tu,Ye Chengge,Cao Pi,Qiang Teyi,Du Dang,Bu Erkai,Teacher like Lv Zonglie, Attendant like Zhang Piji, Manager of ancient books Wang Congpang were rewarded forty silver pounds respectively. Doctor Me Erkedai, Huh Sihuoli,Niman,Su He,Qi Tongge, Mang Se, Huo Tuo,Mu Chengge,Zhou Youde, Bi Liketu,Tu Bahai,Qin Dahun were all awarded 20 silver pounds. Weng Guoshun,E Sihei,Golly, Ma Qilan,Wu Leba,Mu Chengge, Bi Liketu,Yan Chulan,A Xitu,Zhu Chen were all rewarded with 20 silver pounds.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 12:23, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081539	羊叶	女==&lt;br /&gt;
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以上送礼部一一宣名，跪受赏。[ 中国第一历史档案馆编：《清初内国史院满文档案译编·顺治朝》，北京：光明日报出版社，1989年，第80页。]&lt;br /&gt;
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显然，上述两种文献提到的系同一件事情，但内容上有明显出入：首先，封赏的人数不同。&lt;br /&gt;
The officials above give gifts to the Ministry of Rites one by one, being declared the name, and kneeling to be rewarded. [Editor of China's First Historical Archives: Translation of manchu archives of the National Historical Institute of the early Qing Dynasty, Shunzhi Dynasty, Beijing: Guangming Daily Press, 1989, p. 80.] Obviously,the two documents mention the same thing, but there are obvious differences in content: first, the number of people who are rewarded is quite different.&lt;br /&gt;
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All these officials on the list will be named in recognition and rewarded on their knees at the Ministry of Rites. [ Edited by the First Historical Archive of China: &amp;quot;Translation and compilation of Manchu archives in the Early Qing Dynasty•Shunzhi Dynasty&amp;quot;, GuangMing Daily Press, 1989, P80]&lt;br /&gt;
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Appartently, the two literatures mentioned above refer to the same thing, but they differ in content: Firstly, the number of rewarded people is different. --[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:34, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081543	杨柳青	女==&lt;br /&gt;
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例如，《清实录》中只有十六人，《清初内国史院满文档案译编》则多达四十七人，二者之间的出入主要在于弘文院主事、侍讲与侍读学士、典籍官、博士，以及笔帖式等职官群体名单。其次，在赏赐的物件问题上，《清初内国史院满文档案译编》的记载较之《清实录》明显更加详实、具体，可信度更高。再次，在个别封赏对象的称呼上，两种文献之间也有差异。&lt;br /&gt;
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For example, only 16 civil officials are rewarded according to the &amp;quot;Records of the Qing Dynasty&amp;quot; while officials who are rewarded according to the &amp;quot;Translation and Compilation of Manchu Archives of the Chinese Academy in the Early Qing Dynasty&amp;quot; are as many as over 40.  This difference mainly lies in the list of official groups such as the director of the Hong Arts Institute, official bachelors, classics officers, learned scholars and clerks handling paperwork. Secondly, the records about rewarded items in the &amp;quot;Translation of Manchu Archives of the Chinese Academy in the Early Qing Dynasty&amp;quot; are obviously more detailed, accurate and credible than those in the &amp;quot;Records of the Qing Dynasty&amp;quot;.  Thirdly, there are also some differences between the two literatures in terms of the appellation of the rewarded officials.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:30, 29 September 2021 (UTC)&lt;br /&gt;
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For example, only 16 civil officials were rewarded in the The Records of the Qing Dynasty while officials rewarded in the Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty were as many as over 40. This difference mainly lay in the list of official groups such as the director of the Hong Arts Institute, official bachelors, classics officers, learned scholars and clerks handling paperwork. Secondly, the records about rewarded items in the Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty were obviously more detailed, accurate and credible than those in the The Records of the Qing Dynasty. Thirdly, there were also some differences between the two literatures in terms of the appellation of the rewarded officials.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:11, 29 September 2021 (UTC)--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:11, 29 September 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==英语语言文学（英美文学）	202120081545	易扬帆	女==&lt;br /&gt;
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例如，《清实录》中的“刘清泰”被写作《清初内国史院满文档案译编》中的“清泰”，“马尔笃”被写作“马迩都”，“蒋赫德”被写作“赫德”，等等。&lt;br /&gt;
世祖年间翻译的汉文书籍中，《洪武宝训》、《表忠录》、《诗经》与《孝经》等也各具代表性。《洪武宝训》系明朝皇权政治的象征，反映了明太祖朱元璋治国理政的理念和方针政策。&lt;br /&gt;
For example, Liu Qingtai in Factual Record of Qing Dynasty was written as Qingtai in Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty, Mar Du was written as Ma Erdu, and Jiang Hede was written as Hurd, etc.&lt;br /&gt;
The translated Chinese books in the certain era of Fulin years, such as HongWu Baoxun, The Record of Loyalty, Books of Songs and Classic of Filial Piety have had their own representatives.  HongWu Baoxun was a symbol of the imperial power politics of Ming Dynasty, which reflected the ideas and policies of Zhu Yuanzhang, the emperor Taizu of Ming Dynasty.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 16:03, 28 September 2021 (UTC)Yi Yangfan&lt;br /&gt;
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For example, “Liu Qingtai” in Factual Record of Qing Dynasty was written as “Qingtai” in Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty, &amp;quot;Mar Du&amp;quot; was written as &amp;quot;Ma Erdu&amp;quot;, &amp;quot;Jiang Hede&amp;quot; was written as &amp;quot;Hede&amp;quot;, and so on. The translated Chinese books in Fulin years, such as HongWu Baoxun, The Record of Loyalty, Books of Songs and Classic of Filial Piety all were of representative. Hongwu Baoxun was a symbol of imperial power politics in the Ming Dynasty and reflected the ideas and policies of Zhu Yuanzhang, the emperor of the Ming Dynasty.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 02:46, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081546	殷慧珍	女==&lt;br /&gt;
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顺治三年三月，《洪武宝训》的满文翻译完成，成为清朝入关后的首部汉籍译作。世祖对于该部译作极为重视，不仅赏赐了刚林、宁完我、范文程等译者，而且由摄政王多尔衮钦命汉官代笔，以世祖名义为译作制作序文，颁行全国。世祖对明太祖推崇备至，尤其是后者制定的条例章程，认为历代贤君莫如洪武，因而本书的翻译目的性极强。&lt;br /&gt;
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In the March of the third year of Shunzhi, the Manchu translation of Hongwu Baoxun was completed, becoming the first translation written by Chinese writer after the Qing Dynasty was in power. The emperor Shizu attached great importance to this translation. He not only rewarded the translators such as Gang Lin,Ning Wanwo, and Fan Wencheng, ect., but also the regent Dorgon appointed Han officals to write a preface in the name of Shizu, which was issued throughout the country. The emperor Shizu revered the emperor Taizu of Ming Dynasty, especially the regulations and articles he formulated, and believed that there were no virtuous monarchs of all dynasties like Hongwu, so the translation purpose of this book was very strong.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 01:17, 29 September 2021 (UTC)&lt;br /&gt;
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In the March of the third year of Shunzhi, the Manchu translation of Hongwu Baoxun was completed, becoming the first translation done by Chinese translators since the Qing Dynasty was established. The Emperor Shizu attached great importance to this translation. Not only he rewarded the translators such as Gang Lin,Ning Wanwo, and Fan Wencheng, ect., but also the regent Dorgon appointed the officals of Han Dynasty to write a preface, which was issued throughout the country, in the name of Shizu. The Emperor Shizu praised the emperor Taizu of Ming Dynasty highly, especially the regulations and articles he formulated, and he believed that there were no more virtuous monarchs of all dynasties than Hongwu, so the translation purpose of this book was very strong.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:21, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081548	尹媛	女==&lt;br /&gt;
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换言之，世祖希望借由此书的翻译，以中原汉族王朝的所谓“正统”巩固满清统治，粉饰民族征服和民族压迫。事实上，以翻译汉书，尤其是汉文典章制度书籍的翻译，作为统治的工具和手段，这一点在太宗时期即已存在。作为国家治理的重要手段，太宗不仅令达海改进老满文，而且钦定翻译了不少汉文书籍，如明太祖颁发的《大诰三编》和《三国演义》等，用作出谋划策和军事征讨的参考。&lt;br /&gt;
In other words, Shizu hoped to consolidate the rule of Qing Dynasty with the so-called &amp;quot;orthodox&amp;quot; of Han Dynasty in the Central Plains to deny national conquest and oppression by translating this book. Actually, in the reign of Emperor Taizong, it had existed that the translation of Chinese books, especially the translation of Chinese laws and regulations, was regarded as the tools and means of ruling. As the important mean of national governance, the old manchu scripts were developed by Da Hai and not a few Chinese books, such as ''The third Edition of Penal Code'' and ''The Romance of the Three Kingdoms''issued by Emperor Hongwu were translated under the decree of Emperor Taizong, which were used as a reference for planning and advising and military campaigns.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:44, 28 September 2021 (UTC)&lt;br /&gt;
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In other words, Shizu hoped to consolidate the rule of Qing Dynasty with the so-called &amp;quot;orthodox&amp;quot; of Han Dynasty in the Central Plains to whitewash national conquests and oppressions by translating this book. Actually, in the reign of Emperor Taizong, it had existed that the translation of Chinese books, especially the translation of Chinese laws and regulations, was regarded as the tools and means of ruling. As an important mean of national governance, the old manchu scripts were developed by Da Hai and not a few Chinese books, such as ''The third Edition of Penal Code'' and ''The Romance of the Three Kingdoms''issued by Emperor Hongwu were translated under the decree of Emperor Taizong, which were used as a reference for planning and military campaigns.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:01, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081549	詹若萱	女==&lt;br /&gt;
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《表忠录》同样辑自明朝嘉靖年间，实为杨继盛的两部奏疏，即《请诛贼臣疏》和《请罢马市疏》，由汪宗伊撰于明朝万历年间，属吏部传记类。顺治十三年前后，世祖降旨将杨继盛事迹写成《忠愍记》。所谓“忠愍”，即明穆宗因念及杨继盛参劾严嵩之功，誉其为“直谏诸臣之首”，而追赠给后者的谥号。&lt;br /&gt;
The Record of Loyalty was also written from the JiaJing peroid of Ming Dynasty. It was actually consisted of two memorials to throne of Yang JIsheng, namely memorial on killing traitors and memorial on closing the horse market written by Wang Zongyi during the Wanli period of Ming Dynasty. It belonged to official biography. About ShunZhi 13 years, the Emperor Shizu made a decree to write Yang Jisheng’s good deeds into The Record of Zhong Min. The so-called “Zhong Min” referred to the posthumous title given to Yang Jisheng after his death, because Emperor Muzong praised him as “the head of the ministers” for his contribution to impeaching Yan Song.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 02:27, 29 September 2021 (UTC)&lt;br /&gt;
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The Record of Loyalty was also written in the JiaJing peroid of Ming Dynasty. It was actually consisted of two memorials to throne of Yang JIsheng, namely memorial on killing traitors and memorial on closing the horse market written by Wang Zongyi during the Wanli period of Ming Dynasty. It is a kind of official biography. About ShunZhi 13 years, the Emperor Shizu made a decree to write Yang Jisheng’s good deeds into The Record of Zhong Min. The so-called “Zhong Min” referred to the posthumous title given to Yang Jisheng after his death, because Emperor Muzong praised him as “the head of the ministers” for his contribution to impeaching Yan Song.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 13:16, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081553	钟义菲	女==&lt;br /&gt;
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《忠愍记》成书后，世祖御制《表忠录·序》以表彰杨继盛，其中写道：自古贤臣正士效力王家，率授命致身，捐生赴义。迹其所遭，若无厚幸然。&lt;br /&gt;
After the record of Zhong Min was written, the emperor Shizu personally wrote a preface to the record of loyalty to commend Yang Jisheng, which wrote: since ancient times, virtuous officials have devotedly served the emperor family, sacrificing their lives for justice. From what happened, there was no luck.&lt;br /&gt;
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After the Record of Zhong Min was finished, the emperor Shizu personally wrote the Preface to the Record of Loyalty to commend Yang Jisheng, which wrote: since ancient times, virtuous officials and soldiers have devotedly served the loyal family, sacrificing their lives for justice. From what happened to them, there was no luck.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:40, 1 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081554	钟雨露	女==&lt;br /&gt;
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而时过论定，声称振杨，及于代远风遥，流徽弥茂，留连曩迹，如遘其人。是以孟轲有言：“奋乎百世之上，百世之下闻者莫不兴起也”。……顾竭志尽忠者，人臣之谊；善善恶恶者，大道之公。&lt;br /&gt;
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But as time went by, the verdict on Yang Jisheng’s exploits had been reached and he gained considerable fame. When the years have passed, the fame of him spread all around. When people recalled his deeds, it was like meeting him in person. Just as Mencius said, “Those who made themselves distinguished a hundred generations before, and after a hundred generations, some people who heard of them are all aroused in this manner.” ……..Those who were intensely loyal could be harmonious with the ministers; And it was fair to punish the bad and to be kind to the good. --[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:33, 2 October 2021 (UTC)&lt;br /&gt;
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But as time went by, Yang Jisheng’s exploits have been recognized, and he gained considerable fame. The older the years, the more his fame spread. When people recalled his deeds, it was like meeting him in person. Just as Mencius said, “Those who made themselves distinguished a hundred generations before, and after a hundred generations, some people who heard of them are all aroused in this manner.” ……..Those who were intensely loyal could be harmonious with the ministers. And it was fair to punish the bad and to be kind to the good. --[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 13:09, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081555	周玖	女==&lt;br /&gt;
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循省往哲，爱结于中，诚有不能自己者也。朕万机之暇，绎载籍，每览忠孝节义之事，未尝不反复三致意焉。[ 阎崇年校注：《康熙顺天府志》，北京：中华书局，2009年，第482页。]&lt;br /&gt;
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一方面，世祖赞誉杨继盛为忠臣之典范；另一方面，世祖又斥责严嵩为逆臣，认为正是严嵩父子威福专擅，浊乱王家，致使纪纲废断。&lt;br /&gt;
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    Reflecting on predecessors, despite the disloyal, the love to nation was condensed together. I was bombarded with numerous affairs. But  in my spare time, I translated and recorded many books through dictation. When I read books about loyalty, I often analyzed them repeatedly to express my regard. [ Yan Chongnian: Kang Xi Shun Tianfu, Beijing: China Publishing House, 2009, Page 482. ]--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 13:12, 11 October 2021 (UTC)&lt;br /&gt;
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On the one hand, the emperor Shizu acclaimed Yang Jisheng as the paragon of loyal minister. On the other hand, he denounced Yan Song as a traitor, and believing（believed--Chen Xiangqiong(talk) )the fact that Yan Song and his son misused their authorities to domineer and disturb the loyal family so that the law and regulations became slacked.（were broken--Chen Xiangqiong(talk)）&lt;br /&gt;
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==外国语言学及应用语言学	202120081480	陈湘琼	女==&lt;br /&gt;
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世祖敕令翻译此书，目的是为了激励官员学做忠谏之臣，劝勉意味浓厚。毋庸置疑，世祖时期的汉籍翻译秉承的原则也是“实用主义”原则，这一点太祖、太宗时期的汉籍翻译并无本质区别。例如，世祖敕译《诗经》，即有显著的现实意义与政治考量。&lt;br /&gt;
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The Emperor Shunzhi commanded to translate this book for the purpose that officials could be encouraged to become people who dare to tell the truth and give right suggestions to the emperor, which had persuasive and warning meanings by itself. In this period, translation of books from Han dynasty was in fact abiding to the “utilization” principle, which had no difference to translations in the period of Qianlong Emperor and Huang Taiji Emperor. For example , practical significance and political meditation had been considered for Emperor Shunzhi commanding the translation of “Book of Songs”.&lt;br /&gt;
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The Emperor Shunzhi commanded to translate this book to encourage officials to tell the truth and put forward reasonable suggestions, which was of great persuasive meaning.In this period, translation of canons from Han dynasty  actually followed the “utilitarianism” principle, which had no difference to those during the reign of Qianlong Emperor and Huang Taiji Emperor. For example , practical significance and political meditation had been considered for Emperor Shunzhi commanding the translation of “Book of Songs”. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:00, 30 September 2021 (UTC)&lt;br /&gt;
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==外国语言学及应用语言学	202120081492	黄逸妍	女==&lt;br /&gt;
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《清实录·世祖章皇帝实录》中说，顺治十年二月，“上幸内院，披阅翻译《五经》，谕诸臣曰：‘天德王道，备载于书，真万世不易之理也’”。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第9页。]可见，世祖饬令翻译《诗经》之时，其它各经的翻译也在进行，但《五经》中仅有《诗经》一部付梓。《诗经》译毕，世祖也为其御制序文，认为该部作品能使人明性意，崇礼义，“其言之深者，可用于庙堂；言之浅者，可用于身家。以之事君，必忠；以之事父，必孝。&lt;br /&gt;
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According to Records of Qing Dynasty •Records of the Emperor Shizu, in February of the tenth year during the reign of the emperor Shunzhi, &amp;quot;After reading the Five Classics in palace, the emperor contended that morals and natural laws are recorded in these books in extenso, which are tough to reach.&amp;quot; [Revised by Eertai: Records of Qing Dynasty •Records of the Emperor Shizu, Beijing: Zhonghua Publishing House, 1985:9 ] It was clear that the translating of other classics was also proceeding when the emperor Shizu commanded the translation of The Book of Songs while only the latter had been finished among the five classics. When the translation of The Book of Songs came to an end, the emperor Shizu wrote the preface to it himself and remained steadfast in the belief that that work helped to behave with propriety and righteousness. &amp;quot;The book can be used in imperial court from its profound aspect and in average families from its unadorned aspect. Instilled with the belief, the officials would be faithful and the children filial.&lt;br /&gt;
--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 00:44, 29 September 2021 (UTC)&lt;br /&gt;
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According to Records of Qing Dynasty •Records of the Emperor Shizu, in February of the tenth year during the reign of the emperor Shunzhi, &amp;quot;After having a careful perusal of  the Five Classics in adytum, the emperor proclaimed all ministers that morals and natural laws are recorded in these books in extenso, which are tough to reach for all ages.&amp;quot; [Revised by Eertai et al: Records of Qing Dynasty •Records of the Emperor Shizu, Beijing: Zhonghua Publishing House, 1985:9 ] It could be seen that the translating of other classics was also proceeding when the emperor Shizu commanded to  translate The Book of Songs, while only the latter had been finished among the five classics. When the translation of The Book of Songs came to an end, the emperor Shizu wrote the preface to it himself and believed that reading this work would help us to behave with propriety and righteousness. &amp;quot;It can be used in imperial court from its profound aspect and in average families from its unadorned aspect. Instilled with the belief, the officials would be faithful and the children filial.edit--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:12, 30 September 2021 (UTC)&lt;br /&gt;
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==外国语言学及应用语言学	202120081513	马新	女==&lt;br /&gt;
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更可以敦厚人伦，端正教化。”[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第72-73页。]&lt;br /&gt;
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从“教化”的角度思考《诗经》的翻译，既是世祖本人的自觉认识，也是以他为首的统治者在面对稗（bài）官小说盛行，而满洲人竞相翻译时所做的一种调整。正如顺治九年进士、刑科给事中阿什坦指出的那样：学者立志，宜以圣贤为期，读书务以经史为中。&lt;br /&gt;
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&amp;quot;It could also give depth to moral relations, straighten out educational ideas and transform people.&amp;quot; [Ye Shugao: Cultural Policy in the Early Qing Dynasty, Taipei: Daoxiang Publishing House, 2002: 72-73.]&lt;br /&gt;
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It is not only the conscious understanding of Qingshizhu Emperor himself to think about the translation of The Book of Songs from an &amp;quot;Enlightenment&amp;quot; perspective, but also an adjustment made by the rulers at his head faced with the prevalence of Bai-guan novels and Manchurians competing for translation. As pointed out by Ashtan, an advanced scholar in the ninth year of Shunzhi and a supervising censor of Justice,  scholars should aspire to be saints and their reading must focus on classical and historical books.  --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:11, 30 September 2021 (UTC)&lt;br /&gt;
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It could also give depth to moral relations, straighten out educational ideas and transform people.&amp;quot; [Ye Shugao: Cultural Policy in the Early Qing Dynasty, Taipei: Daoxiang Publishing House, 2002: 72-73.]&lt;br /&gt;
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Thinking  about the translation of The Book of Songs from the &amp;quot;Teaching&amp;quot; perspectives is not only the personal understanding of Qingshizhu Emperor himself but also an adjustment made by the rulers at his head faced with the prevalence of Bai-guan novels and Manchurians competing for translation. As pointed out by Ashtan, an advanced scholar in the ninth year of Shunzhi and a supervising censor of Justice, the scholars should aspire to be saints and focus on classical and historical books.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 15:38, 30 September 2021 (UTC)&lt;br /&gt;
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==外国语言学及应用语言学	202120081518	秦建安	女==&lt;br /&gt;
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此外杂书无益之言，必概废之而不睹。则庶乎学业日隆，而邪慝（tè）之心无由而入。近见满洲译书内，多有小说秽言，非惟无益，恐流行渐染，则人心易致于邪慝 。&lt;br /&gt;
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Besides, there is no beneficial words in assorted books which should not be allowed to be published and be viewed.(So they shouldn't be allowed to be published and viewed--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 07:26, 29 September 2021 (UTC)) Then the level of study approximately can be uplifted day by day. Meanwhile, the minds of people will also not be degenerate. Recently I found that the translation of some Manchurian books was full of obscene words which personally was of futility. I am afraid that such transition will be so popular that easily erode people’s thoughts.&lt;br /&gt;
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Revised version:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 13:08, 11 October 2021 (UTC)&lt;br /&gt;
Besides, there is no beneficial words in assorted books.So they shouldn't be allowed to be published and viewed.Then the level of study approximately can be uplifted day by day. Meanwhile, the minds of people will also not be degenerate. Recently I found that the translation of some Manchurian books was full of obscene words which personally was of futility. I am afraid that such transition will be so popular that easily erode people’s thoughts.&lt;br /&gt;
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==外国语言学及应用语言学	202120081522	孙雅诗	女==&lt;br /&gt;
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况圣贤古训，日详究之，犹恐不及，何暇费日时于无用之地？[ 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5339页。]&lt;br /&gt;
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阿什坦的奏章开宗明义，指出读书必以经史为要，必须摒弃杂书，尤其是污言秽语之书，以免贾祸人心。为此，他奏请皇帝对旗人读书严加限制，要求嗣后翻译书籍也应针对“关圣贤义理，古今治乱之书”，对于其它书籍则“概为禁饬，不许翻译”。[ 同上。]&lt;br /&gt;
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What's more,there are many sages and wisdom need to be researched.We are afraid that we don't have enough time to do it in details day by day.So why do we waste our time translating those things?[Revised by Eertai ect.,proofread by Li Xun，Zhao De ect.:''Baqitongzhi·chuji'',Changchun:Northeast Normal University Press,1989,p.5339.]&lt;br /&gt;
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The advice of Ashitan is very clear from the very begining--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:33, 28 September 2021 (UTC),which points that reading should focus on the Confusion classic and history --[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:39, 28 September 2021 (UTC)and abandon those irrelevant books,especially those of dirty words,to get people rid of the obscene thoughts.In order to do this,he advised the emperor be more strict with the Qi people's readings.flag people's learning.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:30, 28 September 2021 (UTC)And he also required his offspring translate books about sages,principles and those can help to govern the society.Besides these books,other books are all forbidden and mustn't be translated.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 11:44, 28 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081530	吴映红	女==&lt;br /&gt;
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这一观点既是他翻译《大学》、《中庸》、《孝经》、《潘氏（通鉴）总论》、《太公家教》的原则与标准，也是太祖朝以来一以贯之的译书宗旨。&lt;br /&gt;
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五 汉籍（书）翻译的文化沟通意涵&lt;br /&gt;
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清初的汉书翻译主要由两部分人员构成：兼通满、汉的旗人（满洲、蒙古、汉军），以及八旗文科举中的举人、进士及第者，特别是顺治朝以来从新科进士中拣选出来学习满文的汉籍士子。&lt;br /&gt;
The opinion is not only the principle and standard of his translation about ‘’University‘’, ‘’the doctrine of the mean‘’,‘ ‘’ the book of filial piety‘’, ‘’the general theory of pan (Tongjian) ‘’and ‘’Taigong family education‘’, but also the consistent purpose of translation from the Taizu Dynasty. &lt;br /&gt;
FIFTH  Cultural communication of Han nationality.&lt;br /&gt;
《大学》''The Great Learning'' --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 28 September 2021 (UTC)&lt;br /&gt;
In the early Qing Dynasty, the translation of Chinese traditional book was mostly composed of two parts: the flag people who knew Manchu and Han (Manchuria, Mongolia and Han Army), as well as the candidates, Jinshi and others in the eight flag liberal arts test, especially the Chinese bechelors who was selected from the new Jinshi to study Manchu from the Shunzhi Dynasty.&lt;br /&gt;
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The opinion is not only the principle and standard of his translation about ‘’Daxue‘’, ‘’Zhongyong‘’,‘ ‘’ Xiaojing‘’, ‘’Genneral Theory(Tongjian) of Pan's Family ‘’and ‘’Taigong Family Education‘’, but also the consistent purpose of translation from the Taizu Dynasty. &lt;br /&gt;
FIFTH  Cultural communication of Han nationality.&lt;br /&gt;
《大学》''The Great Learning'' --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 28 September 2021 (UTC)&lt;br /&gt;
In the early Qing Dynasty, the translation of Chinese traditional book was mostly composed of two parts: the flag people who knew Manchu and Han (Manchuria, Mongolia and Han Army), as well as the candidates, Jinshi and others in the eight flag liberal arts test, especially the Chinese bechelors who was selected from the new Jinshi to study Manchu from the Shunzhi Dynasty.&lt;br /&gt;
--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 12:51, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081560	朱壬铎	男==&lt;br /&gt;
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这些人员既是翻译专才，又是文化接触与交流的实践者，代表了满洲统治阶级想要与汉族之间进行文化沟通的意愿。如顺治六年四月，礼科给事中姚文然以“以满汉同心合力为念。窃思满汉一家，咸思报主”为由，奏请从新科进士内广选庶吉士，令其肄习清书，待精熟之后即授以科、道等官。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第11页。]顺治十年，世祖降旨，对此前所选三科庶吉士进行考试，从中选取“通满洲文义者三人”，“以应升之缺用”，并选取“其次可造者十二人”，“仍照原衔，责令勉力学习，俟再试分别。”[ 同上，第7-8页。]&lt;br /&gt;
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These persons are not only experts in translation,but also practicer in cultral contact and communication,which represented the will,which is to cultrally communicate with the Han people,of the ruling class of Manchu.&lt;br /&gt;
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For example,in April of the sixth year of Shunzhi,Yao Wenran,the inspectorof the department of rites,with the reason that &amp;quot;with the purpose that is combining the Man ethnic and the Han ethnic,I secretly came up with an idea about the Man-Han family but with my whole life for the emperor&amp;quot;,made a request that is to widely select Shujishi from newly selected Jinshi and order them to sutdy the books of Qing Dynasty to get well-learned then teach the bureaucrats from other departments and circuits.[E Ertai et al.write by imperial command:Veritable Records of Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.11]&lt;br /&gt;
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In the tenth year of Shunzhi,Shizong emperor declared an imperial order about examining the selected Shujishi from all three subjects,from which select three persons who are &amp;quot;familiar with the texts of Manchu&amp;quot;,to&amp;quot;fill the vacancy caused by the former Jinshi selection&amp;quot;,and select &amp;quot;another 12 gifted persons&amp;quot;&amp;quot;remain the former title,make them study hard for the further tests and selection.&amp;quot;[E Ertai et al.write by imperial command:Veritable Records of Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.7-8]&lt;br /&gt;
--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 02:47, 29 September 2021 (UTC)&lt;br /&gt;
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These person are not only experts in translation,but also practicers in cultural contact and communication. They represent the will to culturally communicate with the Han people,of the ruling class of Manchu.&lt;br /&gt;
For example,in April of the sixth year of Shunzhi,Yao Wenran,the inspector of the Department of Rites,with the reason that &amp;quot;with the purpose that is combining the Manchu and the Han ethnic,I think both Manchu and Han should hold the thought to requite favours to the emperor,made a request to widely select Hanlin bachelor from newly selected Jinshi(a successful candidate in the highest imperial examinations) and order them to sutdy the books of Qing Dynasty to get well-learned then grant them official positions.[E Ertai et al.write by imperial command:Veritable Records of &lt;br /&gt;
Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.11]&lt;br /&gt;
In the tenth year of Shunzhi, the emperor declared an imperial order about examining the selected Han bachelor of all three subjects,from which select three persons who are &amp;quot;familiar with the texts of Manchu&amp;quot;,to&amp;quot;fill the vacancy caused by the former Jinshi selection&amp;quot;,and select &amp;quot;another 12 gifted persons&amp;quot;&amp;quot;remain the former title,make them study hard for the further tests and selection.&amp;quot;[Idem, p.7-8]&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:10, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081477	蔡珠凤	女==&lt;br /&gt;
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雍、乾、嘉年间，从新科进士中选取习满文者的做法得到延续，但每次选取者人数不一，整体上渐呈下降之势，至道光二十年前后废止，为汉书的满文翻译提供了人力来源，同时也为沟通满、汉两族文化提供了桥梁。&lt;br /&gt;
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事实上，早在太宗时期，由于满人尚居关外，不识汉字，又罔知政体，遂敕达海等翻译汉书，使“满洲臣民未习汉文者，亦能兼通汉书”，而太宗自己也以它们作为“临政规范”，学习汉族的国家治理模式。[ 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5325页。]顺治年间，阿什坦译成《大学》、《中庸》等书后，世祖又以它们作为倡导礼义教化的工具，希望通过此举使“满洲人知崇正学、尚经术”，令“邪说不得行”，而“风俗丕变”。[ 同上。]&lt;br /&gt;
In the years of Yong Zheng , Qian Long and Jia Qing , the practice of selecting Manchu scholars from new scholars continued, but the number of candidates selected each time varied, and the overall trend gradually decreased. It was abolished around the 20th year of Dao Guang, which not only provided a source of manpower resources  for Manchu translation of Hanshu, but also provided a bridge for communication between Manchu and Han cultures.&lt;br /&gt;
In fact, as early as the Taizong period, because the Manchus still lived outside the frontier fortress, did not know Chinese characters and did not know about the regime, they ordered Dahai and other people to translate Chinese books, so that &amp;quot;Manchus who did not learn Chinese could also understand the contents of Chinese books&amp;quot;, and Taizong himself used them as &amp;quot;administration norms&amp;quot; to learn the national governance model of the Han nationality. [Writed by Ertai etc.Checked by Li Xun, Zhao Degui etc.:&amp;quot;Ba Qi Tong Zhi I&amp;quot;, Changchun: Northeast Normal University Press, 1989, P. 5325.] during the reign of Shunzhi, after Ashitan translated the 《University》《Moderate》and other books, Shizu used them as a tool to advocate etiquette and righteousness education, hoping to make &amp;quot;Manchus know and worship orthodox learning and classics&amp;quot; and &amp;quot;heresy can not be carried out&amp;quot; And &amp;quot;Customs change&amp;quot;. [ibid.]&lt;br /&gt;
&lt;br /&gt;
In the years of Yong Zheng , Qian Long and Jia Qing , the practice of selecting Manchu scholars from new scholars was continued, but the number of candidates selected each time varied, and the overall trend gradually tended to decrease. It was abolished around the second decade of Dao Guang, which not only provided human resources for Manchu translation of the Han books, but also builded the bridge of cultural communication between Manchu and Han.&lt;br /&gt;
In fact, as early as the the Emperor Taizong period, because the Manchu who still lived outside shanhaiguan pass, did not know Chinese characters and the regime,Taizong ordered Dahai and others to translate the Han books, so that &amp;quot;Manchus who did not learn Chinese could also understand the Han books&amp;quot;, and Taizong himself also used them as &amp;quot; the administration norms&amp;quot; to learn the national governance model of the Han nationality. [Written by Ertai etc.Checked by Li Xun, Zhao Degui etc.:&amp;quot;Ba Qi Tong Zhi I&amp;quot;, Changchun: Northeast Normal University Press, 1989, P. 5325.] During the reign of Shunzhi, after Ashitan translated the &amp;quot;University&amp;quot;&amp;quot;Moderate&amp;quot;and other books,Hong Taiji used them as the tool to advocate confucian code of ethics , hoping to make &amp;quot;Manchus know and worship orthodox learning and classics&amp;quot; and &amp;quot;heresy can not be carried out&amp;quot; and &amp;quot;Customs change&amp;quot;. [ibid.]--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 02:40, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081486	付诗雨	女==&lt;br /&gt;
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显然，汉文经、史的译印有助于端正满洲的人心风俗，使满、汉文化互通有无，即便是《诗经》中提到的各种花草树木、鸟兽虫鱼，也对拓展满人见闻甚有助益。[ 叶高树：《&amp;lt;诗经&amp;gt;满文译本比较研究——以&amp;lt;周南&amp;gt;、&amp;lt;召南&amp;gt;为例》，《国立台湾师范大学历史学报》1992年第20期。]有清一代，并非只有官方组织汉书的翻译，私人译书也很盛行。但官方译书与私人译书不同，无论是在译书的取材上，还是在译书的组织管理上，抑或是译书的颁行上，都有其特殊的考量。&lt;br /&gt;
Obviously,the translation and printing of the classics and history of Han are conductive to correcting the humanity and customs of Manchuria,and exchanging of needed culture between Manchu and Han.Even different kinds of flowers and trees, insects and fish, which were mentioned in ''the Book of Songs'', also contribute to enrich their knowledge.[Ye Gaoshu:&amp;quot;''Comparative Study of the Manchu translation for 'the book of songs'--Taking  'Zhounan' 'Shannan' as example&amp;quot;,&amp;quot;The Histotrical Journal of National Taiwan Normal University''&lt;br /&gt;
&amp;quot;1992;No.20.]In the Qing Dynasty, not only the official organization of the Han Books' translation, private translation was also very popular. However, unlike the private translation, the official translation was considered specially, whether in the materials of translation, the organization and management of the translation, or the publishment of the translation.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 15:16, 28 September 2021 (UTC)&lt;br /&gt;
Obviously,the translation and printing of the classics and history of chinese are conductive to correcting the morality and customs of Manchuria,and exchanging of needed culture between Manchu and Han.Even different kinds of flowers and trees, insects and fish, which were mentioned in &amp;quot;the Book of Songs&amp;quot;, also contribute to enrich their knowledge.[Ye Gaoshu:&amp;quot;Comparative Study of the Manchu translation for 'the book of songs'--Taking 'Zhounan' 'Shannan' as the example&amp;quot;,&amp;quot;The Histotrical Journal of National Taiwan Normal University &amp;quot;1992;No.20.]In the Qing Dynasty, not only the official organization of the Han Books' translation, private translation was also very popular. However, unlike the private translation, the official translation was considered specially, whether in the materials,the organization,the management or the publishment of the translation.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:05, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081559	周小雪	女==&lt;br /&gt;
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即便是《三国志（通俗演义）》这样的通俗文学作品，译成满文后也被赋予了严肃的兵法与战略意义。以满文遍译汉书，尤其是经、史、子、集等书，并不是为了显示满语语文系统的优越性，所谓“精微巧妙，实小学家所未有”，而是为了“表章经学，天下从风”，通过汉籍的翻译“研究微言，讲求古义”，进行文化沟通。[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第91页。]藉由汉文典籍的翻译，满洲统治者不仅了解了汉族文化，而且在接触与学习中获得了“统制”汉民的重要经验，使满洲政权在性质上逐渐向“中原政权”转化，并实现“治统”与“道统”的和谐统一。&lt;br /&gt;
Even popular literature such as The History of the Three Kingdoms was given serious military and strategic significance when translated into Manchu script. The  purpose of translating Chinese books with Manchu script ,especially Canon ,History,Philosophy and Literature such book is not to show the superiority of the Manchu language system,but to show the confucian classics。Through the translation of Chinese  classics ,study small points ,emphasize the ancient significance and carry out cultural communication.Ye Gaoshu.Cultural Policy in the early Qing Dynasty.Taipei:Rice Village Press,2002,p.91.Through the translation of Chinese classics,Manchu rulers not only understood the Han culture,but also gained important experience of controlling the Han people in the process of contact and learning,so that Manchu regime gradually transformed into central plains regime in nature and realized the unity of regnant orthodoxy and confucian orthodoxy.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:08, 29 September 2021 (UTC)&lt;br /&gt;
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Modifying canon, history, philosophy and literature to Confusion classics, history, pre Qin hundred works, religion and classical writings.因为经：经书，是指儒家经典著作；史：史书，即正史；子：先秦百家著作，宗教；集：文集，即诗词汇编。泛指我国古代典籍。Canon, history, philosophy and literature did not express the exact meaning.&lt;br /&gt;
--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 01:41, 29 September 2021 (UTC)&amp;quot;表章经学，天下从风”The first half of the sentence is not translated accuratelyand the second half of the sentence has not been translated，so I think it should be translated into &amp;quot;Commend Confucian classics and let people all over the world follow&amp;quot;&lt;br /&gt;
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==日语语言文学	202120081562	邹岳丽	女==&lt;br /&gt;
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结语&lt;br /&gt;
清初之际，虽然国家尚未实现从“征服王朝”向“中原王朝”的转变，但统治者在致力于武力开拓的同时，也开始关注文化活动。一方面，统治者念念不忘“国语骑射”的满洲旧制，将其视作立国精神；另一方面，又积极组织汉书翻译，倡导汉文化精神，从中原儒学中探求君主治术，构建国家的治统与道统。汉书翻译不仅让统治者得以接触汉族思想精粹和政治观念，而且让其在了解汉文经典与汉族文化的过程中，学习历代帝王的执政得失，以及古往今来的兴废事迹，从中汲取治国经验。&lt;br /&gt;
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Conclusion At the beginning of the Qing Dynasty, although the country has not yet realized the transformation from &amp;quot;conquering Dynasty&amp;quot; to &amp;quot;Central Plains Dynasty&amp;quot;，however, while the rulers were committed to the development of force, they also began to pay attention to cultural activities. On the one hand, the rulers never forget the old Manchu system of &amp;quot;national language riding and shooting&amp;quot; and regarded it as the spirit of founding the country;On the other hand, --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)he actively organized the translation of Chinese calligraphy, advocated the spirit of Chinese culture, explored the rule of monarchy from the Confucianism of the Central Plains, and constructed the rule and orthodoxy of the country.Chinese translation not only allows the rulers to get in touch with the  &lt;br /&gt;
ideological essence and political concepts of the Han nationality, but also allows them to learn from the ruling gains and losses of emperors and the rise and fall deeds from ancient to modern times in the process of understanding Chinese classics and Han&lt;br /&gt;
culture, so as to learn from the experience of governing the country. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)from the experience of governing the country.   “here the preposition from should be deleted--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)&lt;br /&gt;
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however, while the rulers were committed to expansion by military force.&lt;br /&gt;
国语骑射：Manchu language, horse-riding and archery--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 01:49, 3 October 2021 (UTC)&lt;br /&gt;
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   &lt;br /&gt;
                                                                             --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC) ( here &amp;quot;he&amp;quot; is not consistant with the subjective &amp;quot;the rulers&amp;quot;, so &amp;quot;he&amp;quot; should be changed in to &amp;quot;they&amp;quot; )&lt;br /&gt;
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==国别	202120081478	曾俊霖	男==&lt;br /&gt;
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概言之，汉书的翻译既匡扶了社稷，又教化了臣民，令满、汉文化之间的交流得以开启并加深。虽然清初三朝期间，汉书翻译的规模不一，统治者对于汉族文化的具体态度存在差异，但翻译的原则与标准基本未变，那便是以文治教化和典章制度为主，通过翻译汉族典籍，凝聚符合国家需求的集体价值观，并将汉族传统文化落实为国家治理的大政方针，实现兴文教、崇经术、开太平的治国理念。&lt;br /&gt;
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In short, the translation of books of Han nationality not only helped the whole country, but also educated his people so that the cultural exchange between Manchu and Han can be opened and deepened. During the three dynasties of the early Qing Dynasty, the scale of books of Han nationality translation was different, and the rulers' specific attitudes towards Han culture were different, but the principles and standards of translation remained basically unchanged, which focused on cultural education and the system of laws and regulations, condensed the collective values in line with the national needs through the translation of Han classics, and implemened the Han traditional culture as the major policy of national governance, realized the governing concept of promoting culture and education, advocating studies of Confucian classics and opening up peace.&lt;br /&gt;
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In short, the translation of Books of Han not only gave great help to the whole country, but also educated its(the Qing Dynasty) people so that it began and then deepened the cultural exchange between Manchu and Han. During the first three emperors' rulings of the early Qing Dynasty, though the scales of translation was different, and the rulers' specific attitudes towards Han culture differed from each other, the principles and standards of translation remained basically unchanged, that is to say, it will focus on cultural education and the system of laws and regulations, condense the collective values in line with the national needs through the translation of Han classics, and implement the Han traditional culture as the major policy of national governance to realize the governing concept of promoting culture and education, advocating studies of Confucian classics and opening up peace.&lt;br /&gt;
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 08:19, 29 September 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==国别	202120081493	黄柱梁	男==&lt;br /&gt;
Footnotes and References&lt;br /&gt;
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1  杨家骆：《金史》，台北：鼎文书局，1985年，第1684页。&lt;br /&gt;
&lt;br /&gt;
2  明珠等奉敕修：《清实录·太祖高皇帝实录》，北京：中华书局，1986年，第2页。&lt;br /&gt;
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3  中国第一历史档案馆、中国社科院历史研究所译注：《满文老档》，北京：中华书局，1990年，第1196页。&lt;br /&gt;
&lt;br /&gt;
4  鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第13页。&lt;br /&gt;
&lt;br /&gt;
5  王钟翰点校：《清史列传》，北京：中华书局，1987年，第187页。&lt;br /&gt;
&lt;br /&gt;
6  国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第38页。&lt;br /&gt;
&lt;br /&gt;
1. Yang Jialuo, ''History of the Jin Dynasty''(1115-1234), Taipei, Dingwen Book Company, 1985, pp.1684.&lt;br /&gt;
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2. Ming Zhu et al. (compiled under the order of Emperor Kangxi ), ''the Imperial Archives of Emperor Taichu(1559-1626, posthumous titled Gao Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1986, pp.2. &lt;br /&gt;
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3. The First Historical Archives of China, Translated and Noted by the Institute of History in Chinese Academy of Social Sciences, ''Old Documents of Manchu Script'', Peking, Zhonghua Book Company, 1990, pp.1196.&lt;br /&gt;
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4. E Ertai et al. (compiled under the order of Emperor Yongzheng ), ''the Imperial Archives of Emperor Taizong(1592-1643, posthumous titled Wen Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1985, pp.13.&lt;br /&gt;
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5. Proofread by Wang Zhongshan, ''Biographies of the Qing Dynasty'', Peking, Zhonghua Book Company, 1987, pp.187.&lt;br /&gt;
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6. Committee of National History Compilation, ''the Imperial Archives of Joseon Dynasty'', Seoul, Committee of National History Compilation, 1973, pp.38.&lt;br /&gt;
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 08:18, 29 September 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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1 页码标记应为p.1684.&lt;br /&gt;
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2 posthumous titled Gao Huang Di应改为posthumously titled Gao Huang Di,页码标记为p.2.&lt;br /&gt;
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3“老满文”指的是清太祖努尔哈赤时期创制的满文，以文字中没有圈和点为特点。《满文老档》即是用老满文写成的档案汇编 ，所以《满文老档》应为 ''Manchu Archives written in Fore Manwen'',页码标记为p.1196.&lt;br /&gt;
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4 同第二句，posthumous titled Wen Huang Di改为posthumously titled Wen Huang Di, 页码标记为p.13.&lt;br /&gt;
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5 页码标记为p.187.&lt;br /&gt;
  &lt;br /&gt;
6 页码标记为p.38.&lt;br /&gt;
--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:20, 1 October 2021 (UTC)Liu Wei&lt;br /&gt;
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==国别	202120081507	刘薇	女==&lt;br /&gt;
7  国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第62页。&lt;br /&gt;
&lt;br /&gt;
8  叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第58页。&lt;br /&gt;
&lt;br /&gt;
9  鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第10页。&lt;br /&gt;
&lt;br /&gt;
10 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。&lt;br /&gt;
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11 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第14页。&lt;br /&gt;
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12 同上，第2页。&lt;br /&gt;
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7 National History Compilation Committee, ''Records of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, p.62.&lt;br /&gt;
&lt;br /&gt;
8 Ye Gaoshu,'' Cultural policise in the early Qing Dynasty'', Taipei: Daoxiang press, 2002, p.58.&lt;br /&gt;
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9 E Ertai et al.(compiled  by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.10.&lt;br /&gt;
&lt;br /&gt;
10 Luo Zhenyu, ''Collections of secretary's memorial to the throne during the reign of Tencong'', Beijing: Renmin University of China Press, 1989, p.2.&lt;br /&gt;
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11 E Ertai et al.(compiled  by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.14.&lt;br /&gt;
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12 Ertai et al.(compiled  by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.2.        &lt;br /&gt;
--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:23, 28 September 2021 (UTC)Liu wei&lt;br /&gt;
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7 National Institute of Korean History, ''Records of the Korean Dynasty'', Seoul: National Institute of Korean History, 1973, p.62.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 11 October 2021 (UTC)&lt;br /&gt;
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==国别	202120081537	颜莉莉	女==&lt;br /&gt;
13 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第24-25、115页。&lt;br /&gt;
&lt;br /&gt;
14 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第9页。&lt;br /&gt;
&lt;br /&gt;
15 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。&lt;br /&gt;
&lt;br /&gt;
16 同上，第82页。&lt;br /&gt;
&lt;br /&gt;
17 清高宗敕纂：《八旗满洲氏族通谱》，沈阳：辽沈书社，1989年，第10页。&lt;br /&gt;
&lt;br /&gt;
18 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第15-16页。&lt;br /&gt;
&lt;br /&gt;
13th. Lou Zhenyu: ''Tiancongchao Chengong Zouyi'' , Beijing:  China People's University Press, 1989, pp.24-25,115.&lt;br /&gt;
&lt;br /&gt;
14th. E Ertai eat al revised under order of emperor: ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, p.9&lt;br /&gt;
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15th. Lou Zhenyu: ''Tiancongchao Chengong Zouyi'' , Beijing:  China People's University Press, 1989, p.2&lt;br /&gt;
&lt;br /&gt;
16th. Idem&lt;br /&gt;
&lt;br /&gt;
17th. Qing emperor Gaozong ordered to write: ''General spectrum of Manchu clan in eight banners'', Shenyang: Liaoshen Book Company, 1989,p.10&lt;br /&gt;
 &lt;br /&gt;
18th. E Ertai eat al revised under order of emperor: ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, pp.15-16&lt;br /&gt;
  &lt;br /&gt;
      &lt;br /&gt;
14. E Ertai eat al （eds. on the order of emperor): ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, p.9&lt;br /&gt;
&lt;br /&gt;
16. Idem, p.82&lt;br /&gt;
 &lt;br /&gt;
17. Qing emperor Gaozong ordered to write: ''Genealogy of Manchu clan in eight banners'', Shenyang: Liaoshen Book Company, 1989,p.10&lt;br /&gt;
&lt;br /&gt;
18. E Ertai eat al （eds. on the order of emperor): ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, pp.15-16&lt;br /&gt;
&lt;br /&gt;
==国别	202120081538	颜子涵	女==&lt;br /&gt;
19 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第13页。&lt;br /&gt;
&lt;br /&gt;
20 中国第一历史档案馆编：《清初内国史院满文档案译编·顺治朝》，北京：光明日报出版社，1989年，第80页。&lt;br /&gt;
&lt;br /&gt;
21 阎崇年校注：《康熙顺天府志》，北京：中华书局，2009年，第482页。&lt;br /&gt;
&lt;br /&gt;
22 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第9页。&lt;br /&gt;
&lt;br /&gt;
23 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第72-73页。&lt;br /&gt;
&lt;br /&gt;
24 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5339页。&lt;br /&gt;
 &lt;br /&gt;
19. Ortai and some people compiled it on the orders of the emperor:  ''Records of emperor shizuzhang in the Qing Dynasty'', Beijing: China Book Company, 1989, p.13.&lt;br /&gt;
&lt;br /&gt;
20. Editor of China's First Historical Archives: ''Translation of manchu archives of the National Historical Institute of the early Qing Dynasty, Shunzhi Dynasty'', Beijing: Guangming Daily Press, 1989, p.80.&lt;br /&gt;
&lt;br /&gt;
21. Yan Chongnian made proofreading:  ''Kangxi Shuntian Fuzhi'', Beijing: China Book Company, 2009, p.482.&lt;br /&gt;
&lt;br /&gt;
22. Ortai and some people compiled it on the orders of the emperor: ''Records of emperor shizuzhang in the Qing Dynasty'', Beijing: China Book Company ,1989,p.9.&lt;br /&gt;
&lt;br /&gt;
23.Kao-Shu Yeh,  ''Cultural policy in the early Qing Dynasty'', Taipei:Daoxiang Press, 2002, pp. 72-73.&lt;br /&gt;
&lt;br /&gt;
24. Ortai and some people compiled，Li Wei, Zhao Degui and others proofread: ''Journal of the eight banners •First Episode'', Changchun: Northeast Normal University Press, 1989, p. 5339.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
19. E,Ertai et al. (eds. under the order of the Emperor). ''An Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty'', Beijing:Zhonghua Book Company,1985,p.13.&lt;br /&gt;
&lt;br /&gt;
20. The First Historical Archives of China(ed.). ''A translation of Manchu archives of the Imperial Academy of National History in the Shunzhi Period of the early Qing Dynasty'', Beijing: Guangming Daily Press, 1989, p.80.&lt;br /&gt;
&lt;br /&gt;
21. Yan Chongnian(proofread). ''The History of Shuntian of Emperor Kangxi'', Beijing: China Book Company, 2009, p.482.&lt;br /&gt;
&lt;br /&gt;
22. E,Ertai et al. (eds. under the order of the Emperor). ''An Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty'', Beijing:Zhonghua Book Company,1985,p.9.&lt;br /&gt;
&lt;br /&gt;
23. Kao-Shu Yeh, ''The Cultural Policies of the Early Qing Dynasty'', Taipei:Daoxiang Press, 2002, pp. 72-73.&lt;br /&gt;
&lt;br /&gt;
24. E,Ertai et al.(eds.), Li,Xun&amp;amp;Zhao Degui et al.(proofread). ''The First Collectanea in Ba Qi Tong Zhi'', Changchun:Northeast Normal University Press,1989, p.5339.&lt;br /&gt;
&lt;br /&gt;
==国别	202120081540	阳佳颖	女==&lt;br /&gt;
25 同上。&lt;br /&gt;
&lt;br /&gt;
26 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第11页。&lt;br /&gt;
&lt;br /&gt;
27 同上，第7-8页。&lt;br /&gt;
&lt;br /&gt;
28 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5325页。&lt;br /&gt;
&lt;br /&gt;
29 同上。&lt;br /&gt;
&lt;br /&gt;
30 叶高树：《&amp;lt;诗经&amp;gt;满文译本比较研究——以&amp;lt;周南&amp;gt;、&amp;lt;召南&amp;gt;为例》，《国立台湾师范大学历史学报》1992年第20期。&lt;br /&gt;
&lt;br /&gt;
31 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第91页。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[25] Idem&lt;br /&gt;
&lt;br /&gt;
[26] Ertai et al. (eds. under the order of the Emperor). &amp;quot;Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty&amp;quot;, Beijing:Zhonghua Book Company,1985,p.11.&lt;br /&gt;
&lt;br /&gt;
[27] Idem,pp.7-8.&lt;br /&gt;
&lt;br /&gt;
[28] E,Ertai et al.(eds.), Li,Xun&amp;amp;Zhao Degui et al.(proofread). ''The First Collectanea in Ba Qi Tong Zhi'', Changchun:Northeast Normal University Press,1989, p.5325.&lt;br /&gt;
&lt;br /&gt;
[29] Idem&lt;br /&gt;
&lt;br /&gt;
[30] Ye,Gaoshu. “The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan”.''Historical Inquiry of the National Taiwan Normal University'',no.20(1992).&lt;br /&gt;
&lt;br /&gt;
[31] Ye,Gaoshu. ''The Cultural Policies of the Early Qing Dynasty''. Taipei:Daoxiang Press,2002,p.91.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:16, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[25] Idem&lt;br /&gt;
&lt;br /&gt;
[26] E,Ertai et al. (eds. under the order of the Emperor). &amp;quot;''Actual Record of Shih Tsu Fu Lin in Factual Record of Tsing Dynasty''&amp;quot;, Beijing: China publishing house,1985,p.11.&lt;br /&gt;
&lt;br /&gt;
[27] Idem,p.7-8.&lt;br /&gt;
&lt;br /&gt;
[28] Ertai et al.(eds.), Li,Xun &amp;amp; Zhao Degui et al.(proofread). &amp;quot;''General History of the Eight Banners''&amp;quot;, Changchun: Northeast Normal University Press,1989, p.5325.&lt;br /&gt;
&lt;br /&gt;
[29] Idem&lt;br /&gt;
&lt;br /&gt;
[30] Ye,Gaoshu. &amp;quot;''The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan.''&amp;quot;, Bulletin of Historical Research of National Taiwan Normal University, No.20(1992).&lt;br /&gt;
&lt;br /&gt;
[31] Ye,Gaoshu. &amp;quot;''The Cultural Policies of the Early Tsing Dynasty''&amp;quot;. Taipei: Daoxiang Publishing House,2002,p.91. --Ye Weijie&lt;br /&gt;
&lt;br /&gt;
=Hongloumeng=&lt;br /&gt;
HERE STARTS A NEW TRANSLATION: REST OF CHAPTER 19 OF HONGLOUMENG&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] etc.&lt;br /&gt;
&lt;br /&gt;
==国别	202120081544	叶维杰	男==&lt;br /&gt;
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第十九回 ... 这些丫头们明知宝玉不讲究这些；二则李嬷嬷已是告老解事出去的了，如今管不着他们：因此只顾玩笑，并不理他。那李嬷嬷还只管问：“宝玉如今一顿吃多少饭？什么时候睡觉？”丫头们总胡乱答应。有的说：“好个讨厌的老货！” 李嬷嬷又问道：“这盖碗里是酪，怎么不送给我吃？”说毕，拿起就吃。一个丫头道：“快别动，那是说了给袭人留着的，回来又惹气了。你老人家自己承认，别带累我们受气。”李嬷嬷听了，又气又愧，便说道：“我不信他这么坏了肠子。别说我吃了一碗牛奶，就是再比这个值钱的，也是应该的。难道待袭人比我还重？难道他不想想怎么长大了？我的血变了奶，吃的长这么大，如今我吃他碗牛奶，他就生气了？我偏吃了，看他怎么着！你们看袭人不知怎么样，那是我手里调理出来的毛丫头，什么阿物儿！”一面说，一面赌气把酪全吃了。&lt;br /&gt;
&lt;br /&gt;
Chapter XIX...These girls' busy joking with each other and not much cared about Nanny Li as they previously knew Pao'yue was not particular about these, and there's no room left for Nanny Li to discipline them for she's already be dismissed. While Nanny Li kept asking:“ How's Pao-yue's appetite these day? And the time he make rest?” Always with so less careness girls reply. Some complained:“Aye! Such an old nosy lady!” Still Nanny Li asked：“A bowl of cheeze here! Why don't you bring it to me?”Then she directly grabbed some to her mouth. One girl hurriedly said:“Quit it! That's what Pao'yue reserved for Xiren! You take the blame yourself if he gets discontented, don't get us involved.” Angry but ashamed also Nanny Li went, and said:“I don't believe it！I even deserve something more valuable, let alone a bowl of milk! Is Xi'ren more important than me? Pao'yue can't be this heartless! Think about it, I myself raised him up this good step by step heart and soul with my own blood! How can he get discontented merely because of a bowl of milk? Still I'm gonna take it, even if he did! And Xi'ren? I taught her everything! Mad at me? Don't be ridiculous!”Nagging, Nanny Li emptied the whole bowl.&lt;br /&gt;
&lt;br /&gt;
Chapter XIX...These maids knew clearly that Baoyu didn't care the trifles. Furthermore, Mammy Li was already retired and she had no control over them. Therefor she just ignored him in her teasing. Mammy Li always asked:&amp;quot;How many meals did Baoyu eat recently? When did he go to bed?&amp;quot; The maids'answers always were irrelevant. Some of them said:&amp;quot;What a nasty old woman!&amp;quot; While Mammy Li kept asking :&amp;quot;There is some cheese in the bowl. Why don't you give me?&amp;quot; As soon as the voice fell down, she grabbed the cheese and had it.  One maid hurriedly said:“Quit it! That's what Baoyu reserved for Xiren! You take the blame yourself and  don't get us involved.” Angry but ashamed also Mammy Li was, and said:“I don't believe he has such a bad temper！I even deserve something more valuable, not to mention a bowl of milk! Is Xi'ren more important than me? Think about it, I raised him up by my breast nursing with my own blood! How can he get discontented merely because of a bowl of milk? Still I'm gonna take it, even if he would! And Xiren? That's me who taught her everything! Mad at me? Don't be ridiculous!”Nagging, Mammy Li emptied the whole bowl.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:29, 2 October 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Chapter XIX ... these servant-girls were well aware that Precious Jade was not particular in these respects, and that in the next place Nanny Plum，having pleaded old age, resigned her place and gone home，had nowadays no control over them，so that they simply gave their minds to romping and joking，and paid no heed whatsoever to her. Nanny Plum however still kept on asking about Precious Jade，&amp;quot;How much rice do you now eat at one meal? And at what time do you go to sleep?&amp;quot; to which questions the servant-girls replied quite at random；some of those being there observed: &amp;quot;What a dreadful despicable old thing she is!&amp;quot; - &amp;quot;In this covered bowl,&amp;quot; she continued to inquire, &amp;quot;is cream, and why not give it to me to eat?&amp;quot; and having concluded these words，she took it up there and then began eating it.&amp;quot; Be quick，and leave it alone!&amp;quot; a servant-girl expostulated，&amp;quot;that，she said, was kept in order to be given to Aroma, and on his return，when he again gets into a huff，you，old lady，must，on your own motion，confess to having eaten it，and not involve us in any way as to have to bear his resentment.&amp;quot; Nanny Plum，at these words，felt both angry and ashamed. &amp;quot;I can't believe，&amp;quot; she forthwith remarked，&amp;quot;that he has become so bad at heart！Not to speak of the milk I've had. I have，in fact every right to even something more expensive than this；for is it likely that he holds Aroma dearer than myself？ It can't forsooth be that he doesn't bear in mind how that I've brought him up to be a big man，and how that he has eaten my blood transformed into milk and grown up to this age！and will be because I'm now having a bowl of milk of his be angry on that score！I will，yes，eat it，and we'll see what he'll do！I don't know what you people think of Aroma，but she was a lowbred girl，whom I've with my own hands raised up! And what fine object indeed was she！&amp;quot;As she spoke，she flew into a temper, and taking the cream, she drank the whole of it.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:02, 11 October 2021 (UTC)Zhang Yang&lt;br /&gt;
&lt;br /&gt;
==国别	202120081551	张扬	男==&lt;br /&gt;
&lt;br /&gt;
又一个丫头笑道：“他们不会说话，怨不得你老人家生气。宝玉还送东西给你老人家去，岂有为这个不自在的？”李嬷嬷道：“你也不必装狐媚子哄我，打量上次为茶撵茜雪的事我不知道呢！明儿有了不是，我再来领。”说着，赌气去了。&lt;br /&gt;
少时，宝玉回来，命人去接袭人。只见晴雯躺在床上不动，宝玉因问：“可是病了？还是输了呢？”秋纹道：“他倒是赢的，谁知李老太太来了，混输了，他气的睡去了。”宝玉笑道：“你们别和他一般见识，由他去就是了。”&lt;br /&gt;
说着，袭人已来，彼此相见。袭人又问宝玉何处吃饭，多早晚回来；又代母、妹问诸同伴姊妹好。一时换衣卸妆。宝玉命取酥酪来，丫鬟们回说：“李奶奶吃了。”宝玉才要说话，袭人便忙笑说道：“原来留的是这个，多谢费心。前儿我因为好吃，吃多了，好肚子疼，闹的吐了，才好了。他吃了倒好，搁在这里白糟蹋了。我只想风干栗子吃，你替我剥栗子，我去铺炕。”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Another servant-girl grinned:“They don’t know how to speak properly, and it’s no wonder you old lady should get angry. Precious Jade still sends you great things, and it’s impossible that he will feel uncomfortable for a thing like this.” “You don’t have to act like a vixen to cajole me!” Nanny Plum said, “You think I’m not aware that you pushed Snow Alizarin away on account of a cup of tea the other day? And if I did make a mistake, I’ll come by and admit it!” Having said this, she went off, pissed off.&lt;br /&gt;
Soon Precious Jade came back and gave orders to go and fetch Aroma. Seeing Sunny Cloud Formation lying perfectly still on bed, Precious Jade asked:“ Is she ill? Or has she lost at cards?” “She had been a winner,” Autumn Vein answered,“but Nanny Plum came and muddled her so that she lost, and angry at that she rushed off to sleep,” Precious Jade smiled:“Don’t place yourselves on the same footing as nanny Plum. Leave her alone.”Aroma came as Precious Jade was saying his words. After the mutual salutations, Aroma went on to ask of Precious Jade:“ Where did you have your dinner? And when did you come back?” and to present likewise on behalf of her mother and sisters her salutations to all the girls, who were her companions. In a short while, she changed her costume and washed off her make up. When Precious Jade bade them fetch the cream, the servant-girls answered:“ Nanny Plum has eaten it.” And as Precious Jade was on the point of making some remarks Aroma hastened to interfere, laughing:“ Is it really this that you have kept for me? Many thanks for troubling. The other day when I ate some of it, I found it very tasty and had a lot of it, then I got a pain in the stomach. I was so upset that it was only after I had thrown it all up that I feel right. So it's fine that she has had it. If it had been kept there, it would have been wasted all for no use. What I want are dry chestnuts, and if you can clean a few for me, I'll go and lay the bed.&amp;quot;&lt;br /&gt;
--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:58, 29 September 2021 (UTC)Zhang Yang&lt;br /&gt;
&lt;br /&gt;
Another servant-girl grinned, “They don’t know how to talk properly, and no wonder you, old lady, get angry. Precious Jade still sends you great things, and it’s no need to be unpleased with it.” “You don’t have to cheat me!” Nanny Plum said, “You think I’m not aware that you sent Snow Alizarin away just on account of a cup of tea the other day? I will get it when it is prepared well tomorrow!” Having said this, she went off with sulks. Soon Precious Jade came back and asked someone to pick up Aroma. Seeing Sunny Cloud Formation lying still on bed, Precious Jade asked, “ Is she ill? Or has she lost at cards?” “She had been a winner,” Autumn Vein answered,“but Nanny Plum came and muddled her, so she lost the game and rushed off to sleep for the anger.” Precious Jade smiled, “Don’t take it serious and just leave her alone.”Aroma came as Precious Jade was saying his words. After the mutual salutations, Aroma went on to ask Precious Jade about the place for dinner and the time he would come back, then greet everyone on behalf of her mother and sisters. In a short while, she changed her costume and washed off her make-up. When Precious Jade asked one to fetch the cream, the servant-girls answered,“ Nanny Plum has taken it.” As Precious Jade was on the point of saying something, Aroma laughing, “ Is it this that you have kept for me? Thanks for troubling. The other day when I ate some of it, I found it very tasty and had a lot of it, then I got a pain in the stomach. It was better that she did so, for at least it is not wasted before getting bad. I just want some drying chestnuts. Could you please peel them while I will make the beds.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:23, 29 September 2021 (UTC)&lt;br /&gt;
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==国别	202020080595	陈静	女==&lt;br /&gt;
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宝玉听了，信以为真，方把酥酪丢开，取了栗子来，自向灯下检剥。一面见众人不在房中，乃笑问袭人道：“今儿那个穿红的是你什么人？”袭人道：“那是我两姨姐姐。”宝玉听了，赞叹了两声。袭人道：“叹什么？我知道你心里的缘故，想是说他那里配穿红的？”宝玉笑道：“不是，不是。那样的人不配穿红的，谁还敢穿？我因为见他实在好的很，怎么也得他在咱们家就好了。”袭人冷笑道：“我一个人是奴才命罢了，难道连我的亲戚都是奴才命不成，定还要拣实在好的丫头才往你们家来？”宝玉听了，忙笑道：“你又多心了。我说往咱们家来，必定是奴才不成，说亲戚就使不得？”袭人道：“那也般配不上。”&lt;br /&gt;
宝玉便不肯再说，只是剥栗子。袭人笑道：“怎么不言语了？想是我才冒撞冲犯了你？明儿赌气花几两银子，买进他们来就是了。”&lt;br /&gt;
宝玉笑道：“你说的话，怎么叫人答言呢？我不过是赞他好，正配生在这深宅大院里，没的我们这宗浊物倒生在这里。”&lt;br /&gt;
&lt;br /&gt;
Hearing this, Precious Jade fell for it and throw the curds away, taking some chestnuts and then peeling them under the lantern. Finding others not in the room except Aroma, Precious Jade quipped: “Who is the the person in red today?” Aroma answered, “Two of my cousins”. Knowing it, Precious Jade couldn’t repress a sigh of admiration. “What do you sigh for? I know it is because they could not wear red.” Aroma said. Precious Jade replied with smile: “No! Who dares to wear red if such persons doesn't deserve it? I just admire them and hope if they can stay in our home.” Aroma sneered, “I am just a slave. So all of my families are slaves and we should pick up the best girls to be slaves in your home?” Precious Jade said with smile, “Don’t be touchy. It doesn’t mean to be the slave but to be our relatives in our house.” Aroma replied, “It doesn’t match, either.” Precious Jade refused to say any more, but just peeled chestnuts. Aroma smiled and said, “Why are you silent? I just offended you. You could spend some money and buy them if you want.” Precious Jade smiled and said, “How to respond to your words. I just show my admiration and think they should be in such circumstance where the persons like me live.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 29 September 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Hearing this, Master Bao fell for it, threw the curds away, took some chestnuts and then peeled them under the lantern. Finding others not in the room except Aroma, Master quipped: “What’s the relationship between you and the person in red today?” Aroma answered, “Two of my cousins”. Knowing it, Master Bao couldn’t repress a sigh of admiration. “What do you sigh for? I know what you are thinking. You must think they don’t deserve to wear red.” Aroma said. Master Bao replied with smile: “No! Who dares to wear red if such persons don’t deserve it? I just admire them and hope if they can stay in our house.” Aroma sneered, “I live as a maid. So all of my families should be the same as me? And we should pick up the best girls to be maids in your home?” Master Bao said with smile, “Don’t be touchy. It doesn’t mean to be the maid but to be our relatives in our house.” Aroma replied, “It doesn’t match, either.” Master Bao refused to say any more, but just peeled chestnuts. Aroma smiled and said, “Why are you silent? I think I just offended you. You could spend some money and buy them if you want.” Master smiled and said, “How to respond to your words. I just show my admiration and think they are born to be in such circumstance where the persons like me live. ”--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:34, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081481	陈心怡	女==&lt;br /&gt;
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袭人道：“他虽没这样造化，倒也是娇生惯养的，我姨父、姨娘的宝贝儿似的。如今十七岁，各样的嫁妆都齐备了，明年就出嫁。”宝玉听了“出嫁”二字，不禁又嗐了两声。正不自在，又听袭人叹道：“我这几年，姊妹们都不大见；如今我要回去了，他们又都去了。”&lt;br /&gt;
宝玉听这话里有文章，不觉吃了一惊，忙扔下栗子，问道：“怎么着，你如今要回去？”袭人道：“我今儿听见我妈和哥哥商量，教我再耐一年，明年他们上来，就赎出我去呢。”宝玉听了这话，越发忙了，因问：“为什么赎你呢？”袭人道：“这话奇了。我又比不得是这里的家生子儿，我们一家子都在别处，独我一个人在这里，怎么是个了局呢？”宝玉道：“我不叫你去，也难哪。”袭人道：“从来没这个理。就是朝廷宫里，也有定例：几年一挑，几年一放，没有长远留下人的理，别说你们家。” 宝玉想一想，果然有理。又道：“老太太要不放你呢？”&lt;br /&gt;
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Aroma said, “Although she has few achievements, she is pampered and the apple of my uncle’s, aunt’s eyes. She is now 17. Since all kinds of dowries had been prepared, she could get married next year. ” Hearing “get married”,  Precious Jade Merchant signed spontaneously. He was still ill at ease and then heard Aroma said, “I have rarely met with my sisters in the past few years. Now I’m going back, however, they came.” Precious Jade Merchant thought that there’s more to it than what is said. He was amazed, threw chestnuts at once and asked, “what’s wrong? You are going back now?” Aroma said, “I heard my mother and brother talking about it today. They want me to remain patient for another year and they will come here to redeem me next year. ” Precious Jade heard it, felt anxious and asked, “Why they want to redeem you?” Aroma said, “What you said is pretty strange. I’m not a daughter of maids here. My family is elsewhere, and I’m the only one here. How can it be like this?” Precious Jade said, “I’m afraid I can’t let you go.” Aroma said, “It makes no sense. There are routines even in the imperial palace: palace maids are selected once every few years and then set free. There is no reason to keep a person for a long time in the imperial palace, let alone in your house.” Precious Jade thought about it for a while and thought it made sense. Then he said, “What if my grandmothers doesn’t let you go?”--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:02, 29 September 2021 (UTC)&lt;br /&gt;
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Aroma said, “Though not born as good, she is also spoilt and pampered, being the apple of my aunt and uncles’ eyes. She is now 17 and dowries of all sorts have been prepared for her marriage next year.” At the hearing of the word “marriage”, Precious Jade Merchant gave a sigh. As he was feeling ill at ease, Aroma sighed and continued, “I rarely met my sisters in the past few years. While I’m going back home, they are all about to leave.” Precious Jade Merchant felt surprised at what she said. He threw away chestnuts at once and asked, “why, you are going back home?” Aroma answered, ““I heard my mother and my brother talking today. They told me to stay here for another year and they will come here to ransom me next year.” Hearing that, Precious Jade got more anxious and asked, “Why do they want to ransom you?” Aroma replied, “what a strange question! I’m no daughter of maids here. My family lives elsewhere and I’m all alone here. How can we be together?” Precious Jade sighed, “If I won’t let you go, I suppose it’s difficult.” Aroma answered, “It makes no sense. There are routines even in the imperial palace: maids are selected once every few years and then set free. There is no reason to keep a servant for a long time in the imperial palace, let alone in your house.”Precious Jade thought for a while and considered it reasonable. Then he said, “What if my grandmothers won’t  let you go?”--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 09:47, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081487	高蜜	女==&lt;br /&gt;
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袭人道：“为什么不放呢？我果然是个难得的，或者感动了老太太、太太，不肯放我出去，再多给我们家几两银子留下，也还有的；其实我又不过是个最平常的人，比我强的多而且多。我从小儿跟着老太太，先伏侍了史大姑娘几年，这会子又伏侍了你几年。我们家要来赎我，正是该叫去的，只怕连身价不要，就开恩放我去呢。要说为伏侍的你好，不叫我去，断然没有的事。那伏侍的好，是分内应当的，不是什么奇功；我去了，仍旧又有好的了，不是没了我就使不得的。”&lt;br /&gt;
宝玉听了这些话，竟是有去的理，无留的理，心里越发急了。因又道：“虽然如此说，我只一心要留下你，不怕老太太不和你母亲说，多多给你母亲些银子，他也不好意思接你了。”&lt;br /&gt;
袭人道：“我妈自然不敢强：且慢说和他好说，又多给银子；就便不好好和他说，一个钱也不给，安心要强留下我，他也不敢不依。但只是咱们家从没干过这倚势仗贵霸道的事。这比不得别的东西，因为喜欢，加十倍利，弄了来给你，那卖的人不吃亏，就可以行得的；如今无故平空留下我，于你又无益，反教我们骨肉分离，这件事，老太太、太太肯行吗？”&lt;br /&gt;
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Aroma said, “Why won’t she let me leave? I should be so important, or I have somehow moved Grandma Merchant and Lady King so that they won’t let go of me and give some more money to my family so as to make me stay. Actually, I am a most ordinary person. A whole lot people are better than me. Bought in by Grandma Merchant since I was a child, I had served Lady History for the first several years, and these several years I have been serving you. Now my family are about to pay the ransom. When I ask for a leave, I’m thinking that you could have mercy on me and allow my leaving without the ransom money. I certainly don’t buy it that you stop me from leaving just because I have served you well. Even if it’s true, I’m just doing what I’m supposed to do, which is really no big deal. Nothing will go wrong without me as there are still good servants who will take my place when I leave.” Hearing that, Precious Jade Merchant became all the more anxious because she had a reason to leave and no reason to stay. Therefore, he continued, “Since all I want is to keep you here, I might as well tell you that I wish Grandma Merchant to talk to your mother and give her a lot more money so that she has no reason to come and take you home. Aroma replied, “My mother certainly dares not to ask for my leaving, not to mention that you talk to her in a mild and polite way and give her extra money. Even if you force her without a penny, she dares not to defy. It’s only that your family has never done such a thing as to throw your weight about. It’s feasible when you buy something with ten times of its original price out of love, for the seller suffers no loss. Unlike anything else, it does you no good to keep me for no reason, which instead separates me from my mother. Do you think Grandma Merchant and Lady King will let that happen?”--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 16:09, 28 September 2021 (UTC)&lt;br /&gt;
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Aroma said, “Why won’t she let me leave? I should be so important, or I have somehow moved Grandma Merchant and Lady King so that they won’t let go of me and give some more money to my family so as to make me stay. Actually, I can't be more ordinary, and too many maids out there are better than me. Bought in by Grandma Merchant when I was a child, I had served Lady History for the first several years, and these years I have been serving you. Now my families are about to pay the ransom. When I ask for leaving, I’m thinking that you could have mercy on me and allow my leaving without the ransom money. I certainly don’t buy it that you stop me from leaving just because I have taken good care of you. Even if it’s true, I’m just doing what I’m supposed to do, which is really no big deal. Nothing will go wrong without me as there are still good maids who will take my place when I leave.” Hearing that, Precious Jade Merchant became more anxious because she had every reason to leave but no reason to stay. Therefore, he continued, “Since all I want is to keep you here, I might as well tell you that I may beg Grandma to talk to your mother and give her extra money so that she has no reason to come and take you home.” Aroma replied, “My mother certainly dares not to ask, not to mention that you talk to her in a mild and polite way and give her extra money. Even if you force her without a penny, she dares not to defy. It’s only that your family has never done such a thing as to throw your weight about. It’s feasible when you buy something with ten times of its original price out of love, for the seller suffers no loss. Unlike anything else, it does you no good to keep me for no reason, which instead separates me from my family. Do you think Grandma Merchant and Lady King will let that happen?”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 10:02, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081489	何芩	女==&lt;br /&gt;
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宝玉听了，思忖半晌，乃说道：“依你说来说去，是去定了？”袭人道：“去定了。”宝玉听了，自思道：“谁知这样一个人，这样薄情无义呢！”乃叹道：“早知道都是要去的，我就不该弄了来，临了剩我一个孤鬼儿。”说着，便赌气上床睡了。原来袭人在家，听见他母、兄要赎他回去，他就说：“至死也不回去。”又说：“当日原是你们没饭吃，就剩了我还值几两银子，要不叫你们卖，没有个看着老子娘饿死的理；如今幸而卖到这个地方儿，吃穿和主子一样，又不朝打暮骂。况如今爹虽没了，你们却又整理的家成业就，复了元气；若果然还艰难，把我赎出来，再多掏摸几个钱，也还罢了。其实又不难了，这会子又赎我做什么？权当我死了，再不必起赎我的念头了。”因此哭了一阵。他母、兄见他这般坚执，自然必不出来的了；况且原是卖倒的死契。明仗着贾宅是慈善宽厚人家儿，不过求求，只怕连身价银一并赏了，还是有的事呢。&lt;br /&gt;
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After hearing this, Precious Jade Merchant thought for a while and said, “According to you, you have to go?” “I have to.” Aroma confirmed. Hearing this, Precious Jade thought to himself, “Who knows how heartless you are.”  “I should not have had you here, since you are doomed to go, leaving me alone as a ghost.” Precious Jade sighed and went to bed with complaints. However, during her stay at home, Aroma heard her mother and elder brother wanted to redeem her back.  “I won’t go back until I die.” Aroma railed, “At that time, you were starved to death. Nothing but I was worth some money. If I had refused to be sold, you would have been dead. I was fortunately to be sold to the Merchant’s and treated as a lady, free from abuses. Though my father has passed away, you have recollected yourselves and established new lives. If you were still in trouble, it would make sense that you wanted to reap some profit by redeeming me out. Since you are not, why are you bothering to do this? Don’t ever think about it! Just pretend I’m dead.” Seeing Aroma’s tears and insistence, her mother and elder brother knew it was impossible for her to leave the Merchant’s, besides, it was a sold-out death indenture. In fact, it was not impossible for the Merchant’s, who was a charitable and generous family, to set Aroma free with compensation money, if Aroma pleaded.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:03, 28 September 2021 (UTC)&lt;br /&gt;
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After hearing this, Precious Jade Merchant thought for a while and said, “According to you, you have to go?” “Yes, I have to.” Aroma confirmed. Hearing this, Precious Jade thought, “Who knows how heartless she is.”  “I should not have had you here, since you are doomed to go, leaving me alone as a ghost.” Precious Jade sighed and went to bed with complaints. However, during her stay at home, Aroma heard her mother and elder brother want to redeem her back.  “I won’t return home until I die.” Aroma railed, “At that time, you were starved to death. Nothing but I was worth some money. If I had refused to be sold, you would have been dead. I was fortunately to be sold to the Merchant’s and treated as a lady, free from abuses. Though my father has passed away, you have reorganized the family and established new lives. If you were still in trouble, it would make sense that you wanted to reap some profit by redeeming me out. Since you are not, why are you bothering to do this? Don’t think about it anymore! Just pretend I’m dead.” Seeing Aroma’s tears and insistence, her mother and elder brother knew it was impossible for Aroma to leave the Merchant’s, besides, it was a sold-out lifetime indenture. In fact, it was possible for the Merchant’s, who was a charitable and generous family, to set Aroma free with compensation money, if Aroma pleaded.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:41, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081499	李双	女==&lt;br /&gt;
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二则，贾府中从不曾作践下人，只有恩多威少的；且凡老少房中所有亲侍的女孩子们，更比待家下众人不同，平常寒薄人家的女孩儿也不能那么尊重。因此他母子两个就死心不赎了。&lt;br /&gt;
次后忽然宝玉去了，他两个又是那个光景儿，母子二人心中更明白了，越发一块石头落了地，而且是意外之想，彼此放心，再无别意了。&lt;br /&gt;
且说袭人自幼儿见宝玉性格异常，其淘气憨顽出于众小儿之外，更有几件千奇百怪、口不能言的毛病儿。近来仗着祖母溺爱，父母亦不能十分严紧拘管，更觉放纵弛荡，任情恣性，最不喜务正。每欲劝时，谅不能听。今日可巧有赎身之论，故先用骗词以探其情，以压其气，然后好下箴规。今见宝玉默默睡去，知其情有不忍，气已馁堕。自己原不想栗子吃，只因怕为酥酪生事，又像那茜雪之茶，是以假要栗子为由，混过宝玉不提就完了。&lt;br /&gt;
What’s more, the Merchant’s was very good to the servants, and never treated them cruelly. All the girls who served the old or the young received more respect than the others, even more than the girls who lived in poor families. Consequently Aroma’s mother and brother made their minds not to redeem her. Later the sudden arrival of Precious Jade and his meeting with Aroma still further reassured them and put down their stone in heart. The unexpected situation dispelled their other thoughts. When Precious Jade Merchant was young, Aroma found that he was different from ordinary children and that he was naughtier and had some foibles which can’t be told to others. Recently, because Grandma Merchant spoiled Precious Jade too much, his parents couldn’t discipline him too. He was therefore more indulgent and willful, and hated doing the right thing. Whenever others persuaded him, he was stubborn. Today it happened to talk about redemption, so Aroma deliberately lied to Precious Jade to test his attitude and to restrain his anger, and then made the rules. She saw Precious Jade go to sleep silently. She knew the truth, therefore she couldn’t help feeling some guilt, and her anger also subsided. Aroma hadn’t wanted to eat the chestnuts, but was just afraid of the problems that would result from the milk, just like Snow Alizarin’s tea. For this reason, she tricked Precious Jade into not mentioning milk by pretending she wanted to eat chestnuts.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 04:50, 29 September 2021 (UTC)&lt;br /&gt;
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What’s more, the Merchant’s was very nice to the servants, and never treated them cruelly. All the girls who served as maids of the family members, old or young, were generally treated more kindly than the servants in other position, and were even better off than daughters of ordinary families. Consequently Aroma’s mother and brother made their minds not to buy her freedom. Then the sudden arrival of Precious Jade and the acquaintance between Aroma and her master showed the true situation of Aroma, which made them reassure. The unexpected situation dispelled their other thoughts. These years had shown Aroma that Baoyu with some indescribably odd habits, was no ordinary youth and was more willful than others. Recently, Precious Jade was so indulged by his grandma that his parents couldn’t discipline him strictly. Therefore, he became more indulgent, headstrong and impatient at conventions. Whenever she wanted to exhort him to clean up his act, she was convinced he would not listen to her. Luckily, using the incident as a convenient excuse, Aroma enabled to sound him out, pacify his mood, and give him a good lecture. She saw Precious Jade go to sleep silently. She knew his sadness about her departure, so she didn’t have the heart  to give a lecture  to him. As for chestnuts, Aroma hadn’t wanted to eat but she had pretended to be eager for them, for fear that the junket would creat a disturbance, just like Snow Alizarin’s tea. She made Precious Jade forget the junket by pretending to hanker after chestnuts.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:53, 1 October 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081506	刘胜楠	女==&lt;br /&gt;
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于是命小丫头子们将栗子拿去吃了，自己来推宝玉，只见宝玉泪痕满面。&lt;br /&gt;
袭人便笑道：“这有什么伤心的？你果然留我，我自然不肯出去。”宝玉见这话头儿活动了，便道：“你说说，我还要怎么留你？我自己也难说了。”&lt;br /&gt;
袭人笑道：“咱们两个的好，是不用说了。但你要安心留我，不在这上头。我另说出三件事来，你果然依了，那就是真心留我了；刀搁在脖子上，我也不出去了。”&lt;br /&gt;
宝玉忙笑道：“你说那几件？我都依你。好姐姐，好亲姐姐，别说两三件，就是两三百件，我也依的。只求你们看守着我，等我有一日化成了飞灰，——飞灰还不好，灰还有形有迹，还有知识的。——等我化成一股轻烟，风一吹就散了的时候儿，你们也管不得我，我也顾不得你们了，凭你们爱那里去，那里去就完了。”&lt;br /&gt;
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Aroma thereupon gave the chestnuts to the other maids and nudged Precious Jade gently. She found his face is tear-strained .“Why you so sad about that?”she cajoled. “If you really want me to remind here, I won’t leave of course.” Reading between the lines, Precious Jade quickly replied , “Just tell me what I can do to keep you. I don't know how to persuade you.” She laughed, “We needn’t mention how well we get along with each other. If you really want to keep me, that’s a whole other story. If you promise me two or three things I come up with, I’ll assume that you are truly want me to stay. Then even a knife at my throat could not make me get out of here.”Precious Jade merrily said, “Well, what are these three conditions? I will agree them all, dear sister, my nice sister. I’d agree to two or three hundred conditions, let alone two or three. I merely implore you all to stay and take care of me until the day that I turn into flying ashes. No, I don’t want to turn into ashes because ashes have a trace of form and awareness . I’d like to let you all stay until I’ve turned into a wisp of smoke and been blown away by the wind. Then you will not be able to watch over me, and l will not be able to care about you.  I will let you go wherever you please as well.”--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 04:48, 29 September 2021 (UTC) &lt;br /&gt;
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Aroma thereupon gave the chestnuts to the other maids and nudged Precious Jade gently. She found his face tear-strained .“Why are you so sad about that?”she cajoled .“If you really want me to remind in Jia’s mansion, I won’t leave naturally.” Reading between the lines, Precious Jade quickly replied , “Just tell me what else I can do to keep you. I don't know.” She laughed, “We needn’t mention how well we get along with each other. If you really want to keep me, that’s a whole other story. If you promise me two or three things I come up with, I‘ll assume that you are truly want me to stay. Then even a knife at my throat could not make me get out of here.” Precious Jade merrily said, “Well, what are these three conditions? I will agree them all, good  sister, my dear sister. I’d agree to two or three hundred conditions, let alone two or three. I merely implore you all to stay and take care of me until the day that I turn into flying ashes. No, I don’t want to turn into ashes because ashes have a trace of form and awareness . I’d like to let you all stay until I’ve turned into a wisp of smoke and been blown away by the wind. Then you will not be able to take care of me, and l will not be able to care about you.  I will let you go wherever you want as well.”--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:38, 29 September 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120021494	金晓童	女==&lt;br /&gt;
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急的袭人忙捂他的嘴道：“好爷，我正为劝你这些个，更说的狠了。”宝玉忙说道：“再不说这话了。”袭人道：“这是头一件要改的。”宝玉道：“改了，再说你就拧嘴。还有什么？”&lt;br /&gt;
袭人道：“第二件，你真爱念书也罢，假爱也罢，只在老爷跟前，或在别人跟前，你别只管嘴里混批，只作出个爱念书的样儿来，也叫老爷少生点儿气，在人跟前也好说嘴。老爷心里想着：我家代代念书，只从有了你，不承望不但不爱念书(已经他心里又气又恼了)，而且背前面后混批评：凡读书上进的人，你就起个外号儿，叫人家‘禄蠹’；又说只除了什么‘明明德’外就没书了，都是前人自己混编纂出来的。这些话，你怎么怨得老爷不气，不时时刻刻的要打你呢？”&lt;br /&gt;
宝玉笑道：“再不说了。那是我小时候儿不知天多高地多厚，信口胡说的，如今再不敢说了。还有什么呢？”&lt;br /&gt;
Aroma covered his mouth in a hurry and said:&amp;quot;my dear lord, I'm trying to persuade you, but you said these even harder.&amp;quot; Precious Jade Merchant quickly said:&amp;quot;I will not say these again.&amp;quot;&amp;quot;This is the first thing you need to change.&amp;quot;Aroma replied.Precious Jade Merchant said:&amp;quot;OK,if I say it again,you can twist my mouth.Anything else?＂&lt;br /&gt;
Aroma said:” The second thing, whether you like studying or not, except for nonsense you just need to pretend that you like reading when talking to milord or other people, which can make milord less angry so that he have something to talk. Milord will say to himself:“Everyone in my family have studied from generation to generation except you. And I can’t imagine that not only do you hate reading(already he was angry and bitter), but also making criticism everywhere----if someone are motivated and love reading, you will call him ‘greedy man’; or you will say every book is fabricated but ‘li Ji’Because of these above, why did you complain that milord are usually annoyed and beat your ass?” “I will never be like that before. When I was a kid, I didn’t understand bragging and talk whatever I want. My dare not say now, and what else?” Precious Jade Merchant said with a smile.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:49, 28 September 2021 (UTC)&lt;br /&gt;
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Xiren covered his mouth in a hurry and said: &amp;quot;my dear lord, I'm trying to persuade you, but you're exaggerating these.&amp;quot;Baoyu quickly said: &amp;quot;I will not say these again. &amp;quot; &amp;quot;This is the first thing you need to change. &amp;quot;Xiren replied.Baoyu said: &amp;quot;OK, if I say it again,you can twist my mouth. Anything else? &amp;quot;Xiren said: &amp;quot;The second thing, whether you like studying or not, you can't just talk nonsense, you just need to pretend that you like reading when talking to milord or other people, which can make milord less angry so that he have something to talk with others. Milord will say to himself: &amp;quot;Everyone in my family have studied from generation to generation except you .And I can't imagine that not only do you hate reading (already he was angry and bitter), but also making criticism everywhere casually----if someone are motivated and love reading, you will call him 'greedy man'; you also said there were no other books in the world except 'li Ji', that all other books were made up groundlessly by predecessors. Because of these above, why did you complain that milord are usually annoyed and beat your ass? &amp;quot; &lt;br /&gt;
&amp;quot;I will never be like that before. When I was a kid,  I didn't understand bragging and talk whatever I want. My dare not say now, and what else? &amp;quot;BaoYu said with a smile.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 02:19, 2 October 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081504	李怡	女==&lt;br /&gt;
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袭人道：“再不许谤僧毁道的了。还有更要紧的一件事：再不许弄花儿，弄粉儿，偷着吃人嘴上擦的胭脂和那个爱红的毛病儿了。”宝玉道：“都改，都改。再有什么，快说罢。”&lt;br /&gt;
袭人道：“也没有了，只是百事检点些，不任意任性的就是了。你要果然都依了，就拿八人轿也抬不出我去了。”宝玉笑道：“你在这里长远了，不怕没八人轿你坐。”袭人冷笑道：“这我可不稀罕的！有那个福气，没有那个道理，纵坐了也没趣儿。”&lt;br /&gt;
二人正说着，只见秋纹走进来说：“三更天了，该睡了。方才老太太打发嬷嬷来问，我答应睡了。”宝玉命取表来看时，果然针已指到子初二刻了。方从新盥漱，宽衣安歇，不在话下。&lt;br /&gt;
至次日清晨，袭人起来，便觉身体发重，头疼目胀，四肢火热。先时还扎挣的住，次后挨不住，只要睡，因而和衣躺在炕上。&lt;br /&gt;
Aroma said :Stop denigrating monks and dhamma.There is a more important things : no more indulging in flowers and rouge and powder,no more touching lipstick on other people's lips secretly ,and give up the habit of applying makeup. Precious Jade Merchant said :i will change it all .And anything else ? Aroma said : Nothing,you must be careful of everything and stop being capricious. If you change them all, I won't leave even if you lift me in a  huge Jiao. Precious Jade Merchant laughed and said : If you stay here long enough, you'll be able to ride in a big Jiao. Aroma sneered and said :I don't desire it, and even if I were lucky enough to ride in the big Jiao, it would be against the rules and boring.&lt;br /&gt;
While the two were talking, Autumn Vein came in and said : It's early in the morning and it's time to go to bed. Grandma Merchant sent her maid to ask after you, and I said you were asleep. Precious Jade Merchant took a watch and checked the time, and it was already midnight, he cleaned up again and then undressed and went to bed and stopped talking.&lt;br /&gt;
When Aroma got up early the next morning, she felt heavy and dizzy,and she felt her body was burning. At first she managed to stand up, then she couldn't hold on and felt sleepy, and finally she lay down in bed with her clothes on.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:35, 29 September 2021 (UTC)&lt;br /&gt;
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Aroma said, “Stop denigrating monks and dhamma. There is a more important things : no more indulging in flowers and rouge and powder, no more eating lipstick on other people’s lips secretly, and give up the habit of applying makeup.” Precious Jade Merchant said, “I I will rectify all these addictions. And anything else ? ” Aroma said: “No, however, you must be careful of everything and stop being capricious. If you were a kind man, I won’t leave even if you had an eight-man palanquin. Precious Jade Merchant laughed and said: “If you stay here long enough, you’ll be able to in an eight-person palanquin. Aroma sneered and said: “I don’t desire it, and even if I were lucky enough to be in the palanquin, it would be against the rules. That’s boring.” While the two were talking, Autumn Vein came in and said, “It's almost dawn and it’s time to go to bed. Grandma Merchant sent her maid to ask after you, and I said you were asleep.” Precious Jade Merchant asked his servant to bring the watch and checked the time, and it was already midnight. He cleaned up again, undressed and went to bed promptly. When Aroma got up the next morning, she felt heavy and dizzy with a body burning. At first, she was able to stand up, but couldn’t hold on after a short while, and felt extremely sleepy. Thus, she lay down in bed with her clothes on.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:59, 29 September 2021 (UTC)彭瑞雪&lt;br /&gt;
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==法语语言文学	202120081517	彭瑞雪	女==&lt;br /&gt;
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宝玉忙回了贾母，传医诊视，说道：“不过偶感风寒，吃一两剂药，疏散疏散就好了。”开方去后，令人取药来煎好。刚服下去，命他盖上被窝焐汗。宝玉自去黛玉房中来看视。&lt;br /&gt;
彼时黛玉自在床上歇午，丫鬟们皆出去自便，满屋内静悄悄的。宝玉揭起绣线软帘，进入里间，只见黛玉睡在那里，忙上来推他道：“好妹妹，才吃了饭，又睡觉。”将黛玉唤醒。黛玉见是宝玉，因说道：“你且出去逛逛。我前儿闹了一夜，今儿还没歇过来，浑身酸疼。”宝玉道：“酸疼事小，睡出来的病大。我替你解闷儿，混过困去就好了。”黛玉只合着眼，说道：“我不困，只略歇歇儿。你且别处去闹会子再来。”宝玉推他道：“我往那里去呢？见了别人就怪腻的。”&lt;br /&gt;
After hastily greeting Granny Merchant, Precious Jade Merchant invited a doctor to see Aroma at home. The doctor said,“This young lady has only caught a cold by chance, take a few pills, the illness will slowly fade away.” According to the prescription prescribed by the doctor, the servant was ordered to pick out the medicine in the pharmacy and to cook it. As soon as Aroma finished the soup, the doctor asked her to cover herself with a quilt in order to sweat and get rid of the cold in her body. Then, Precious Jade Merchant went alone to Mascara Jade Forest’s room to visit her. At that time, she was lying alone in bed, taking a nap, and the maids had all gone off to do their own things, and silence filled the whole room. Precious Jade Merchant gently lifted the curtain and entered the room, only to see her sleeping there, and hurriedly went up to her, nudged her and said to her: “Lovely sister, you just went to bed after eating, how can you do that?” He tried to wake Mascara Jade Forest up. When she was awakened, she saw that the person who had woken her up was Precious Jade Merchant, she saisd, “Could you go out for a walk for the time being. I was up all night the night before, and to this day I still have not recovered my energy. I feel sick.” he answered, “Feeling sick is not a big problem. But if you keep sleeping, you will become really very ill. I will relieve your boredom so that the sleepiness is dispelled, and you will be refreshed.” Mascara Jade Forest just closed her eyes and said,“I’m not sleepy, I just want to rest for a while. Go and play somewhere else for a while, after that, you can come back to me.” Precious Jade Merchant nudged her and said, “Where can I go? I’m tired of others.”--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:37, 29 December 2021 (UTC)&lt;br /&gt;
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After hastily greeting Grandma Merchant, Precious Jade invited a doctor to see Aroma at home. The doctor said,“This young lady has only caught a cold by chance, take a few pills and she will be recovered.” According to the prescription prescribed by the doctor, the servant was ordered to pick out the medicine in the pharmacy and to decoct it. As soon as Aroma finished the medicine, the doctor asked her to cover herself with a quilt in order to sweat and get rid of the cold in her body. Then, Precious Jade went alone to Mascara Jade's room to visit her. At that time, Mascara Jade was lying alone in bed, taking a nap, and the maids had all gone off to do their own things, and silence filled the whole room. Precious Jade gently lifted the curtain and entered the room, only to see Daiyu sleeping there, and hurriedly went up to her, nudged her and said to her: “Lovely sister, you just went to bed after eating, how can you do that?” Precious Jade tried to wake Mascara Jade up. When she was awakened, she saw that the person who had woken her up was Precious Jade , she saisd, “Could you go out for a walk for the time being. I was up all night the night before, and to this day I still have not recovered my energy. I feel sick.” Precious Jade answered, “Feeling sick is not a big problem. But if you keep sleeping, you will become really very sick. I will relieve your boredom so that the sleepiness will be dispelled, and you will be refreshed.” Mascara Jade just closed her eyes and said,“I’m not sleepy, I just want to rest for a while. Go and play somewhere else for a while, after that, you can come back to me.” Precious Jade nudged her and said, “Where can I go? I’m tired of others.”--Yang Kun(talk) 21;22, 29 September 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081542	杨堃	女==&lt;br /&gt;
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黛玉听了，嗤的一笑道：“你既要在这里，那边去老老实实的坐着，咱们说话儿。”宝玉道：“我也歪着。”黛玉道：“你就歪着。”宝玉道：“没有枕头，咱们在一个枕头上罢。”黛玉道：“放屁！外头不是枕头？拿一个来枕着。”&lt;br /&gt;
宝玉出至外间，看了一看，回来笑道：“那个我不要，也不知是那个腌臜老婆子的。”黛玉听了，睁开眼，起身笑道：“真真你就是我命中的魔星！请枕这一个。”说着，将自己枕的推给宝玉，又起身将自己的再拿了一个来枕上，二人对着脸儿躺下。&lt;br /&gt;
黛玉一回眼，看见宝玉左边腮上有钮扣大小的一块血迹，便欠身凑近前来，以手抚之细看道：“这又是谁的指甲划破了？”宝玉倒身，一面躲，一面笑道：“不是划的，只怕是才刚替他们淘澄胭脂膏子，溅上了一点儿。”说着，便找绢子要擦。&lt;br /&gt;
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When Mascara Jade heard this, she giggled and said, &amp;quot;Since you want to sit here, sit honestly there and let's talk.&amp;quot; Precious Jade Merchant said, &amp;quot;I want to lie down here,too.&amp;quot; &amp;quot;You can do it!&amp;quot; said Mascara Jade. &amp;quot; Precious Jade said, &amp;quot;There isn't other pillow. Let's be on the same pillow.&amp;quot; Mascara Jade said, &amp;quot;Bullshit! It's not a pillow outside? Take one !&amp;quot; &lt;br /&gt;
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Precious Jade went out to the outer room, looked at it, came back and smiled, &amp;quot;I don't want that, and I don't know if it belongs to a certain pickled old woman.&amp;quot; Hearing this, Mascara Jade opened her eyes, got up and smiled, &amp;quot; You are the magic star I hit! Please rest with this one. &amp;quot; Then, she pushed her pillow to Precious Jade, got up and fetched another one .After that,the two lay down face-to-face. &lt;br /&gt;
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As soon as Mascara Jade looked back and saw a piece of blood ,the size of a button, on Precious Jade's left cheek. She leaned forward and looked closely with her hand, saying, &amp;quot;whose nails cut your face?&amp;quot; Precious Jade turned back, hiding, and said with a smile, &amp;quot;It's not a wound. I think it's just spattered with a little blusher when I washed it for them just now.&amp;quot; With that, he looked for the handkerchief to wipe.--Yang Kun (talk) 23:50, 28 September 2021 (UTC)&lt;br /&gt;
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When Mascara Jade heard this, she giggled and said, &amp;quot;Since you want to stay here, sit there quietly and let's  have a talk.&amp;quot; Precious Jade said, &amp;quot;I want to lie down, too.&amp;quot; &amp;quot;Do as you like&amp;quot; said Mascara Jade. &amp;quot; Precious Jade said, &amp;quot;There isn't other pillow. Let's share the pillow.&amp;quot; Mascara Jade said, &amp;quot;Don’t talk rot! It's not a pillow outside? Take one !&amp;quot; Precious Jade went out to the outer room, looked at it, came back and smiled, &amp;quot;I don't want that, and I don't know if it belongs to a certain pickled old woman.&amp;quot; Hearing this, Mascara Jade opened her eyes, got up and smiled, &amp;quot; You are the magic star I hit! Please rest with this one. &amp;quot; Then, she pushed her pillow to Precious Jade, got up and fetched another one. After that, the two lay down face-to-face. As soon as Mascara Jade looked back and saw a piece of blood ,the size of a button, on Precious Jade’s left cheek. She leaned forward and looked closely with her hand, saying, &amp;quot;whose nails cut your face?&amp;quot; Precious Jade turned back, hiding, and said with a smile, &amp;quot;It's not a wound. I think it's just spattered with a little blusher when I washed it for them just now.&amp;quot; With that, he looked for the handkerchief to wipe.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 05:12, 29 December 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081556	周俊辉	女==&lt;br /&gt;
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黛玉便用自己的绢子替他擦了，咂着嘴儿说道：“你又干这些事了；干也罢了，必定还要带出幌子来。就是舅舅看不见，别人看见了，又当作奇怪事，新鲜话儿，去学舌讨好儿，吹到舅舅耳朵里，大家又该不得心净了。”&lt;br /&gt;
宝玉总没听见这些话，只闻见一股幽香，却是从黛玉袖中发出，闻之令人醉魂酥骨。&lt;br /&gt;
宝玉一把便将黛玉的衣袖拉住，要瞧瞧笼着何物。黛玉笑道：“这时候谁带什么香呢？”宝玉笑道：“那么着，这香是那里来的？”黛玉道：“连我也不知道，想必是柜子里头的香气熏染的，也未可知。”宝玉摇头道：“未必。这香的气味奇怪，不是那些香饼子、香球子、香袋儿的香。”黛玉冷笑道：“难道我也有什么罗汉、真人给我些奇香不成？就是得了奇香，也没有亲哥哥亲兄弟弄了花儿、朵儿、霜儿、雪儿替我炮制。我有的是那些俗香罢了。”&lt;br /&gt;
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Mascara Jade wiped his cheek with her handkerchief. Smacking her mouth, she said:“ You did it again. You always make excuses to do the trifles. You’re lucky that my uncle doesn’t know. But if other people saw it, they would take it as an anecdote, an opportunity to play up to my uncle. As soon as my uncle hears about it, there will be no peace in the house.”&lt;br /&gt;
The words went in one his ear and out the other. At that moment, he smelled a faint fragrance coming from Mascara Jade’s sleeve, which was intoxicating. &lt;br /&gt;
Precious Jade grabbed Mascara Jade’s sleeve to see what it was. Mascara Jade laughed and said, “Who brings balsam at this time?” He laughed: “Then where does the fragrance come from?” “Even I don’t know. Maybe it came out of the closet.” Precious Jade shook his head:“Not necessarily, the smell is very strange, not like the fragrance of incense cake, of incense ball, of incense bag.” Mascara Jade sneered: “ Will some god give me some magic spice? Even if I really get it, there is no brothers to help me find flowers, buds, frost and snow, then help me make incense. All I have is mediocre spices.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:04, 2 October 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest wiped his mouth with her mocket,she pouted and said:“You did it again, but you also make trouble to us. Although uncle couldn't see it, other people could and would take it as a anecdote. Mabye he heard of it beacause of someone's flattery, there won't be quiet.”&lt;br /&gt;
The words went in one of his ears and out the other. At that moment, he smelled a faint fragrance coming from Mascara Jade Forest’s sleeve,which was intoxicating. &lt;br /&gt;
Precious Jade Merchant grabbed her sleeve to see what stuff hide im. Mascara Jade Forest smiled and said, “Who brings balsam at this time?” He laughed: “Then where does the fragrance come from?” “Even I don’t know. Maybe it's fumigated by the fragrance of the closet.” Precious Jade Merchant shook his head:“Not necessarily, the smell is very strange, not like the fragrance of incense cake, of incense ball, of incense bag.” Mascara Jade Forest sneered: “ Will some god give me some magic spice? Even if I really get it, there is no brothers to help me find flowers, buds, frost and snow, then help me make incense. All I have is mediocre spices.”--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 13:13, 29 September 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081558	周清	女==&lt;br /&gt;
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宝玉笑道：“凡我说一句，你就拉上这些。不给你个利害也不知道，从今儿可不饶你了。”说着，翻身起来，将两只手呵了两口，便伸向黛玉膈肢窝内两胁下乱挠。黛玉素性触痒不禁，见宝玉两手伸来乱挠，便笑的喘不过气来。口里说：“宝玉，你再闹，我就恼了。”宝玉方住了手，笑问道：“你还说这些不说了？”黛玉笑道：“再不敢了。”一面理鬓，笑道：“我有奇香，你有‘暖香’没有？”&lt;br /&gt;
宝玉见问，一时解不来，因问：“什么‘暖香’？”黛玉点头笑叹道：“蠢才，蠢才！你有‘玉’，人家就有‘金’来配你；人家有‘冷香’，你就没有‘暖香’去配他？”宝玉方听出来，因笑道：“方才告饶，如今更说狠了。”说着又要伸手。黛玉忙笑道：“好哥哥，我可不敢了。”宝玉笑道：“饶你不难，只把袖子我闻一闻。”说着便拉了袖子，笼在面上，闻个不住。黛玉夺了手道：“这可该去了。”宝玉笑道：“要去不能。咱们斯斯文文的躺着说话儿。”说着，复又躺下。黛玉也躺下，用绢子盖上脸。&lt;br /&gt;
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Precious Jade Merchant smiled and said:&amp;quot;if i say a word,you will do something like this. You don't know how to constrain, from now on, i won't forgive you anymore if you won't change.&amp;quot; As he said, he stood up and exhaled two warm breaths to his both hands, and then put them into the two flanks of Mascara Jade Forest's diaphragm and scratched randomly. Mascara Jade Forest still couldn't help itching, so she couldn't breathe with a smile. She said:&amp;quot;Baoyu, if you make a disturbance,i will bw anoyed.&amp;quot; Baoyu stopped, he smiled and said:&amp;quot;Will you still say this?&amp;quot; &amp;quot;i'll never do it again. But i have a special perfume, do you have the 'warm perfume'.&amp;quot; Mascara Jade Forest smiled and said.&lt;br /&gt;
Precious Jade Merchant couldn't solve it for a while, so he asked:&amp;quot;What's the &amp;quot;warm perfume?&amp;quot; Mascara Jade Forest nodded and signed with a smile:&amp;quot;stupd, stupid!You have &amp;quot;jade&amp;quot;, people will have &amp;quot;gold&amp;quot;to match you;i have &amp;quot;cold perfume&amp;quot;, but you don't have &amp;quot;warm perfume?&amp;quot; Precious Jade Merchant undstood:&amp;quot;You just surrendered, and now it's even more excesive.&amp;quot; He was about to stretch out his hand again. Mascara Jade Forest hurriedly smiled: &amp;quot;Good brother, I don't dare anymore.&amp;quot;Precious Jade Merchant smiled: &amp;quot;It's not difficult to spare you. I just smell your sleeves.&amp;quot; As he said, he pulled up his sleeves, caged on his face, and couldn't help smelling it.Mascara Jade Forest grabbed his hand and said, &amp;quot;This is the time to go.&amp;quot; Precious Jade Merchant smiled and said, &amp;quot;I can't go. Let's lie down and talk quietly.&amp;quot; As he said, he lay down again. Mascara Jade Forest also lay down and covered her face with silk.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 12:54, 11 October 2021 (UTC)&lt;br /&gt;
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Baoyu smiled and said:&amp;quot;if i say a word,you will do something like this. You don't know what happened if I'm not serious. I won't let you off from this day forward. &amp;quot; As he said, he stood up and exhaled two warm breaths to his both hands, and then put them into the two flanks of Daiyu's diaphragm and scratched randomly. Daiyu still couldn't help itching, so she couldn't breathe with a smile. She said:&amp;quot;Baoyu, if you make a disturbance,i will bw anoyed.&amp;quot; Baoyu stopped, he smiled and said:&amp;quot;Will you still say this?&amp;quot; &amp;quot;i'll never do it again. But i have a special perfume, do you have the 'warm perfume'.&amp;quot; Daiyu smiled and said.&lt;br /&gt;
Baoyu couldn't solve it for a while, so he asked:&amp;quot;What's the &amp;quot;warm perfume?&amp;quot; Daiyu nodded and signed with a smile:&amp;quot;stupd, stupid!You have &amp;quot;jade&amp;quot;, people will have &amp;quot;gold&amp;quot;to match you;i have &amp;quot;cold perfume&amp;quot;, but you don't have &amp;quot;warm perfume?&amp;quot; Baoyu undstood:&amp;quot;You just surrendered, and now it's even more excesive.&amp;quot; He was about to stretch out his hand again. Daiyu hurriedly smiled: &amp;quot;Good brother, I don't dare anymore.&amp;quot;Baoyu smiled: &amp;quot;It's not difficult to spare you. I just smell your sleeves.&amp;quot; As he said, he pulled up his sleeves, caged on his face, and couldn't help smelling it.Daiyu grabbed his hand and said, &amp;quot;This is the time to go.&amp;quot; Baoyu smiled and said, &amp;quot;I don't go. Let's lie down and talk quietly.&amp;quot; As he said, he lay down again. Daiyu also lay down and covered her face with silk.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:56, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081488	宫博雅	女==&lt;br /&gt;
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宝玉有一搭没一搭的说些鬼话，黛玉总不理。宝玉问他几岁上京，路上见何景致，扬州有何古迹，土俗民风如何。黛玉不答。宝玉只怕他睡出病来，便哄他道：“嗳哟！你们扬州衙门里有一件大故事，你可知道么？”黛玉见他说的郑重，又且正言厉色，只当是真事，因问：“什么事？”宝玉见问，便忍着笑顺口诌道：“扬州有一座黛山，山上有个林子洞。”黛玉笑道：“这就扯谎，自来也没听见这山。”宝玉道：“天下山水多着呢，你那里都知道？等我说完了，你再批评。”黛玉道：“你说。”&lt;br /&gt;
宝玉又诌道：“林子洞里原来有一群耗子精。那一年腊月初七，老耗子升座议事，说：‘明儿是腊八儿了，世上的人都熬腊八粥。如今我们洞里果品短少，须得趁此打劫些个来才好。’乃拔令箭一枝，遣了个能干小耗子去打听。小耗子回报：‘各处都打听了，惟有山下庙里果、米最多。’老耗子便问：‘米有几样？果有几品？’小耗子道：‘米、豆成仓。果品却只有五样：一是红枣，二是栗子，三是落花生，四是菱角，五是香芋。’&lt;br /&gt;
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Precious Jade Merchant chattered by fits and starts, Mascara Jade Forest kept silent. Precious Jade Merchant asked, “How old were you when you went to the captical? What did you see along the road? Are there any historical sites in Yangzhou? How about the folk customs?” She didn’t answer. Precious Jade Merchant was worried she will get ill for sleeping too long , and coaxed her, “ Ah! There is an important event in yamen of Yangzhou, you know that? ” Mascara Jade Forest saw what he said with a stern look,so she aslo took it seriously. Then she asked, “What envent? ” Upon seeing this, Precious Jade Merchant concealed a smile and kept cooking up, “in Yangzhou there is a mountain called Daishan and a forest cave upon there. ” Mascara Jade Forest smiled, “It is nonsense, I have not heard of it at all. ”Precious Jade Merchant replied, “There are so many landscapes in the world, how do you know all of them? Keeping your comments until i finish my words. ” She said, “Say it. ” Precious Jade Merchant talked recklessly again, “There used to be a bunch of ratspirits in the forest cave. On the seventh day of the twelfth lunar month, the elder ratspirit held a meeting. On the meeting, he said, ‘Tomorrow is the eighth day of the twelfth lunar month. People will all make laba rice porridge. Now that we are short of grain in the cave, we must seize the chance to rob some. ’ Cosequently he threw a command arrow and sent an able young ratspirit to inquire. Young ratspirit returned and reported, ‘I have made inquiries everywhere. The temple at the mountain foot stores most fruits and rice. ’ The old ratspirit asked, ‘ How many kinds of grain? How many kinds of tribute? ’ The young ratspirit said, ‘There's a whole warehouse of rice and bean. There are only five kinds of cereal: one is red dates, two is chestnuts, three is peanuts, four is water chestnut, five is taro. ’--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 01:55, 13 October 2021 (UTC)&lt;br /&gt;
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Chinese names can be translated directly in pinyin.(宝玉—Baoyu；黛玉—Daiyu);Bao Yu was talking nonsense, but Dai Yu always ignored it. She asked him how old he was when he went to Beijing, what sights he saw on the way, what are the monuments in Yangzhou, and what are the customs and folklore. Daiyu did not answer. She was afraid that he would fall asleep and get sick, so she coaxed him, &amp;quot;Oh! There is a big story in your Yangzhou government office, do you know it?&amp;quot; The first time I saw him, I thought he was telling the truth, so I asked, &amp;quot;What is it?&amp;quot; When Baoyu saw the question, he stifled a laugh and said smoothly, &amp;quot;There is a Dai Mountain in Yangzhou and there is a Lin Zi Cave on the mountain.&amp;quot; Daiyu laughed and said, &amp;quot;That's a lie, I haven't heard of this mountain since.&amp;quot; The world is full of mountains and rivers, where do you know them all? When I've finished, you can criticise again.&amp;quot; Daiyu said, &amp;quot;You say it.&amp;quot; Bao Yu said, &amp;quot;There was a group of rat spirits in the forest cave. That year, on the seventh day of the lunar month, the old rats rose to their seats and said: 'Tomorrow is the eighth day of the lunar month, and everyone in the world is making lunar porridge. Now we are short of fruits in the cave, so we must take advantage of this to rob some of them.' He drew an arrow and sent a competent little rat to inquire. The little rat reported, 'I have asked everywhere, but the temple at the bottom of the hill has the most fruit and rice.' The old rat then asked, 'How many kinds of rice are there? How many kinds of fruit are there?' The little rat said, 'Rice and beans are in the warehouse. But there are only five kinds of fruits: first, red dates, second, chestnuts, third, groundnuts, fourth, lozenges, and fifth, taro.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:46, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081515	毛优	女==&lt;br /&gt;
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“老耗子听了大喜，即时拔了一枝令箭，问：‘谁去偷米？’一个耗子便接令去偷米。又拔令箭问：‘谁去偷豆？’又一个耗子接令去偷豆。然后一一的都各领令去了。只剩下香芋，因又拔令箭问：‘谁去偷香芋？’只见一个极小极弱的小耗子应道：‘我愿去偷香芋。’&lt;br /&gt;
“老耗子和众耗子见他这样，恐他不谙练，又怯懦无力，不准他去。小耗子道：‘我虽年小身弱，却是法术无边，口齿伶俐，机谋深远。这一去，管比他们偷的还巧呢。’众耗子忙问：‘怎么比他们巧呢？’小耗子道：‘我不学他们直偷；我只摇身一变，也变成个香芋，滚在香芋堆里，叫人瞧不出来，却暗暗儿的搬运，渐渐的就搬运尽了。这不比直偷硬取的巧吗？’众耗子听了，都说：‘妙却妙，只是不知怎么变？你先变个我们瞧瞧。’小耗子听了，笑道：‘这个不难，等我变来。’说毕，摇身说：‘变！’竟变了一个最标致美貌的一位小姐。众耗子忙笑说：‘错了，错了。原说变果子，怎么变出个小姐来了呢？’小耗子现了形，笑道：‘我说你们没见世面，只认得这果子是香芋，却不知盐课林老爷的小姐才是真正的香玉呢。’”&lt;br /&gt;
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The old mouse was overjoyed and immediately drew an arrow and asked:&amp;quot;Who is going to steal the rice?&amp;quot; A mouse took the order to steal the rice. Then he drew /pulled another arrow and asked again :&amp;quot;Who is going to steal the beans?&amp;quot; Another mouse took the order to steal the beans. All the mouses One by one received the orders, only the order of taro was left. So the old mouse drew this left arrow and asked:&amp;quot;Who is going to steal the taro?&amp;quot;  At this time a very small and weak mouse responded:&amp;quot;I am willing to steal the taro.&amp;quot; The old mouse and all the mice saw him like this, and they would not allow him to go because they were afraid that he would be unskilled and cowardly. But the little mouse said: ‘Although I am young and weak, I have boundless power, skillful tongue and foresight. I will steal more cleverly than others. &amp;quot;The mice hurriedly asked: &amp;quot;How can you do that?&amp;quot; The little mouse said: &amp;quot;I won't learn from them to steal directy. I just changed my body and turned into a taro, rolled in the taro pile. In that way people can't see me. Then I will secretly carry the taros, and gradually they were exhausted. Isn't this more clever than stealing directly? All the mice heard this, and they all said, &amp;quot;It's indeed a wonderful way, but how can you change yourself into a taro? Can you show us now? let's see!&amp;quot;The little mouse listened and said with a smile: &amp;quot;This is not difficult, wait for me!&amp;quot; After speaking, he said: &amp;quot;Change! &amp;quot;She has turned into the most beautiful girl in this world. The mice laughed and said:&amp;quot;it’s wrong, it’s wrong. Originally you said that you would turn into fruit, why did you turn into a girl?&amp;quot; The little mouse appeared, and smiled: &amp;quot;I said you hadn't seen the world, because you only recognized that it was a taro, but you didn't know that master Lin's daughter was the real fragrant jade. &amp;quot;(In Chinese pronounciation of the word &amp;quot;taro&amp;quot; is as the same as the word &amp;quot;fragrant jade&amp;quot;)--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 14:28, 28 September 2021 (UTC)Sept. 28&lt;br /&gt;
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The old mouse was overjoyed and immediately drew an arrow and asked:&amp;quot;Who is going to steal the rice?&amp;quot; A mouse took the order to steal the rice. Then he pulled another arrow and asked again :&amp;quot;Who is going to steal the beans?&amp;quot; Another mouse took the order to steal the beans. All the mouses One by one received the orders, only the order of taro was left. So the old mouse pulled this left arrow and asked:&amp;quot;Who is going to steal the taro?&amp;quot;  At this time a very small and weak mouse responded:&amp;quot;I am willing to steal the taro.&amp;quot; The old mouse and all the mice saw him like this, and they would not allow him to go because they were afraid that he would be unskilled and cowardly. But the little mouse said: ‘Although I am young and weak, I have boundless supernatural power, skillful tongue and foresight. I will steal more cleverly than others. &amp;quot;The mice hurriedly asked: &amp;quot;How can you do that?&amp;quot; The little mouse said: &amp;quot;I won't learn from them to steal directy. I just changed my body and turned into a taro, rolled in the taro pile. In that way people can't see me. Then I will secretly carry the taros, and gradually they were exhausted. Isn't this more clever than stealing directly? All the mice heard this, and they all said, &amp;quot;It's indeed a wonderful way, but how can you change yourself into a taro? Can you show us now? let's see!&amp;quot;The little mouse listened and said with a smile: &amp;quot;This is not difficult, wait for me!&amp;quot; After speaking, he said: &amp;quot;Change! &amp;quot;She has turned into the most beautiful girl in this world. The mice laughed and said:&amp;quot;it’s wrong, it’s wrong. Originally you said that you would turn into fruit, why did you turn into a girl?&amp;quot; The little mouse appeared, and smiled: &amp;quot;I said you hadn't seen the world, because you only recognized that it was a taro, but you didn't know that master Lin's daughter was the real fragrant jade. &amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:00, 11 October 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081529	吴婧悦	女==&lt;br /&gt;
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黛玉听了，翻身爬起来，按着宝玉笑道：“我把你这个烂了嘴的！我就知道你是编派我呢。”说着便拧。宝玉连连央告：“好妹妹，饶了我罢，再不敢了。我因为闻见你的香气，忽然想起这个故典来。”黛玉笑道：“饶骂了人，你还说是故典呢。” 一语未了，只见宝钗走来，笑问：“谁说故典呢？我也听听。”黛玉忙让坐，笑道：“你瞧瞧，还有谁？他饶骂了，还说是故典。”宝钗笑道：“哦！是宝兄弟哟，怪不得他，他肚子里的故典本来多么。就只是可惜一件：该用故典的时候儿，他就偏忘了。有今儿记得的，前儿夜里的芭蕉诗就该记得呀，眼面前儿的倒想不起来。别人冷的了不得，他只是出汗。这会子偏又有了记性了。”黛玉听了，笑道：“阿弥陀佛！到底是我的好姐姐。你一般也遇见对子了。可知一还一报，不爽不错的。”&lt;br /&gt;
刚说到这里，只听宝玉房中一片声吵嚷起来。&lt;br /&gt;
未知何事，下回分解。&lt;br /&gt;
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Mascara Jade Forest listened, turned over and got up, she laughed at Precious Jade and said: “ Why you love to gossip so much? I knew that you were making fun of me.” She said and tweaked his ear. Precious Jade hastened to say that: “ my dear sister, forgive me please, I dare not do it again. Because I smelt your scent, and suddenly remembered this literary allusion.” Mascara Jade Forest smiled and added: “ You spout insults but said that it is an allusion.” Didn’t finish saying, while Precious hairpin came in, she also smiled and said: “ Who is telling allusions? I want to know, too.” Mascara Jade Forest offered her seat to Precious hairpin , and said: “ Look! Who else? He spout insults, but said they are allusion.” Precious hairpin added with a smile: “ Oh! It is brother Precious Jade, it’s none of his business, because he knew a lot of allusions,  but it is a pity that he didn’t remember the allusion when it needed. He should have remembered the Plantain poem, but didn’t remember the allusion before him. The others were so cold, but he only sweated, and this time he unexpectedly had a good memory.” Mascara Jade Forest listened to her, laughing: “ God! You exactly my good sister. Now you also meet with your opponent. It is true that measure for measure.” By this time, Precious Jade‘s room rang out a noise. Unknown what had happened, it will be told in the next chapter.&lt;br /&gt;
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Daiyu heard, turned over and got up, she laughed at Baoyu and said: “ Why you love to gossip so much? I know that you are making fun of me.” She said and tweaked his ear. Baoyu hastened to say that: “ my dear sister, forgive me please, I dare not do it again. Because I smelt your scent, and suddenly remembered this literary allusion.” Daiyu smiled and added: “ You spout insults but said that it is an allusion.” Didn’t finish saying, while Baochai came in, she also smiled and said: “ Who is telling allusions? I want to know, too.” Daiyu offered her seat to Baochai, and said: “ Look! Who else? He spout insults, but said they are allusion.” Baochai added with a smile: “ Oh! It is brother Baoyu, it’s none of his business, because he knew a lot of allusions,  but it is a pity that he didn’t remember the allusion when it needed. He should have remembered the Plantain poem, but didn’t remember the allusion before him. The others were so cold, but he only sweated, and this time he unexpectedly had a good memory.” Daiyu listened to her, laughing: “ God! You are exactly my good sister. Now you also meet with your opponent. It is true that measure for measure.” By this time, Baoyu’s room rang out a noise. Unknown what had happened, it will be told in the next chapter. --[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:20, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081533	谢庆琳	女==&lt;br /&gt;
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花解语──解：理解，领会。 语本“解语花”，出自五代·王仁裕《开元天宝遗事·卷下·解语花》：“秋八月，太液池有千叶白莲，数枝盛开，帝(唐玄宗)与贵戚宴赏焉。左右皆叹羡。久之，帝指贵妃示于左右曰：‘争如我解语花！’”(争：怎。)原指唐玄宗把杨贵妃比做善解人意的鲜花。引申以比喻善解人意的美女。曹雪芹化用为“花解语”，则变为美女善解人意；而“花”又为袭人之姓，则“花解语”就是花袭人善解人意。&lt;br /&gt;
玉生香──玉：指林黛玉。 生香：散发出香气。语或本“活色生香”，出自唐·薛能《杏花》诗：“活色生香第一枝，手中移得近青楼。”原形容杏花呈现出生机盎然的美丽颜色，散发出沁人心脾的香气。引申以形容女子的天生美貌和芳香气息。这里用以形容林黛玉的天生美貌和芳香气息。&lt;br /&gt;
“Hua Jie Yu” - &amp;quot; Jie&amp;quot;: to understand, to comprehend. The phrase is from Wang Renyu's &amp;quot;The Legacy of Kaiyuan Tianbao - Volume 2 - The Flower of Explanation&amp;quot;: &amp;quot;In the eighth month of autumn, there were a thousand leaves of white lotus in full bloom at the Taiyan Pond. The Emperor (Tang Xuanzong) and his noble relatives enjoyed the feast, and all the people around him admired them. After a long time, the emperor pointed to the noble princess and showed her to the left and right, saying: 'Compete with me to interpret the flowers!'&amp;quot; (Strive: how.) Originally, Emperor Tang Xuanzong compared Yang Guifei to an understanding flower. This is a metaphor for a beautiful woman who understands people. Cao Xueqin's use of the word &amp;quot;Hua Jie Yu&amp;quot; is a metaphor for a beautiful woman who understands people's feelings; and since &amp;quot;Hua&amp;quot; is also the surname of Assailant, &amp;quot;Hua Jie Yu&amp;quot; means that Hua Assailant understands people's feelings. “Jade is fragrant” - “Jade” refers to Lin Daiyu. The name of the poem is &amp;quot;Jade&amp;quot;. The phrase is derived from the poem 'Apricot Blossoms' by Xue Neng: &amp;quot;The first branch of apricot blossoms is in living colour and fragrance, and the hand has moved close to the green tower.&amp;quot; The original description is that the apricot blossoms are of a vibrant and beautiful colour, emitting a refreshing fragrance. It is also used to describe the natural beauty and fragrance of a woman. Here it is used to describe the natural beauty and fragrance of Lin Daiyu.&lt;br /&gt;
--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:02, 29 September 2021 (UTC)&lt;br /&gt;
“Hua Jie Yu” - &amp;quot; Jie&amp;quot;: to understand, to comprehend. The phrase is from five dynasties and ten years ·Wang Renyu's &amp;quot;The Legacy of Kaiyuan Tianbao - Volume 2 - The Flower of Explanation&amp;quot;: &amp;quot;In the eighth month of autumn, there were a thousand leaves of white lotus in full bloom at the Taiye Pond. The Emperor (Tang Xuanzong) and his  relatives enjoyed the beautiful scenery, and all the people around him admired them. After a long time, the emperor pointed to Yang Guifei（his wife）and showed her to the left and right, saying: 'Compete with me to interpret the flowers!'&amp;quot; (Strive: how.) Originally, Emperor Tang Xuanzong compared Yang Guifei to an understanding flower. This is a metaphor for a beautiful woman who understands people. Cao Xueqin used  the word &amp;quot;Hua Jie Yu&amp;quot; as a metaphor for a beautiful woman who understands people's feelings; and since “Hua” is also the surname of Aroma, “Hua Jie Yu” means that “Aroma Hua” understands people's feelings. “Yu Sheng Xiang” - “Yu”(Jade) refers to Mascara Jade Forest. “Sheng Xiang”- exude fragrance. Or it could be called ''Huo Se Sheng Xiang''.The phrase is derived from the poem 'Apricot Blossoms' by Xue Neng: &amp;quot;The first branch of apricot blossoms is in living colour and fragrance, when got it in hand has moved close to the brothel.&amp;quot; The original description is that the apricot blossoms are of a vibrant and beautiful colour, emitting a refreshing fragrance. It is also used to describe the natural beauty and fragrance of a woman. Here it is used to describe the natural beauty and fragrance of Mascara Jade Forest.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 03:24, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081552	张怡然	女==&lt;br /&gt;
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掷骰(t óu投)子——是一种游戏，即互掷骰子，以点数多少决输赢。 骰子：游戏或赌博用具。多用兽骨制成，为立体小方块，六面分别刻以一、二、三、四、五、六点，一、四点涂以红色，其馀涂以黑色，故又称“色子”。相传为曹操之子曹植发明。&lt;br /&gt;
《丁郎认父》──取材于小说《升仙记》的弋阳腔剧目。写明代杜文学因受奸相严嵩迫害，流落湖广，入赘胡丞相府，与前妻所生子丁郎曲折相认的故事。&lt;br /&gt;
《黄伯央大摆阴魂阵》──或作《黄伯英大摆阴兵阵》。是由《七国春秋平话》改编的地方戏目。写燕国大将乐毅请师父黄伯央(《七国春秋平话》作“黄伯杨”)下山摆设阴魂阵围困齐将孙膑，最后两国讲和的故事。&lt;br /&gt;
Cast the dice - is a game in which two people cast in turn, using the size of the dice to determine the winner. Dice: a game or gambling device.Most of them are small cubes made of animal bones, six sides are engraved on one, two, three, four, five, six points, one and four coated into red, and the rest is also black, so the dice is  called again ''Shai zi''.It is said to be invented by Cao Zhi, the son of Cao Cao. &lt;br /&gt;
''Ding lang got acquainted with his father''-- based on the novel ''Sheng Xian Ji'' yiyang repertoire. It tells the story of a man named Du Wenxue in the Ming Dynasty, who was forced to live in Huguang area because of the persecution of Yan Song, the adulterous phase. He entered the residence of Prime Minister Hu and met ding Lang, the son of his ex-wife with twists and turns.&lt;br /&gt;
''Huang Boyang's Great display of ghosts'' ─ or ''Huang Boying's great display of died soldiers''. It is a local opera adapted from ”The story collection of the Seven Kingdoms In the Spring and Autumn Period”. It tells the story of the  state of Yan general Yue Yi please master Huang Boyang (''The story collection of the Seven Kingdoms In the Spring and Autumn Period'' for ''Huang Boyang'' ) Down the mountain set up the ghost array besiege Qi general Sun Bin， finally the last two countries  peace story.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 15:47, 28 September 2021 (UTC)&lt;br /&gt;
Cast the dice - is a game in which two people cast in turn, using the size of the dice to determine the winner. Dice: a game or gambling device.Most of them are small cubes made of animal bones, six sides are engraved on one, two, three, four, five, six points, one and four coated into red, and the rest is coated into black, so the dice is also called 'Shai zi''.It is said to be invented by Cao Zhi, the son of Cao Cao. &lt;br /&gt;
''Ding lang got acquainted with his father''-- based on yiyang repertoire of the novel ''Sheng Xian Ji''. It tells the story of a man named Du Wenxue in the Ming Dynasty, who was forced to live in Huguang area because of the persecution of Yan Song, the adulterous phase. He entered the residence of Prime Minister Hu and met ding Lang, the son of his ex-wife with twists and turns.&lt;br /&gt;
''Huang Boyang's Great display of ghosts'' ─ or ''Huang Boying's great display of died soldiers''. It is a local opera adapted from ”The story collection of the Seven Kingdoms In the Spring and Autumn Period”. It tells the story of the  state of Yan general Yue Yi please master Huang Boyang (''The story collection of the Seven Kingdoms In the Spring and Autumn Period'' for ''Huang Boyang'' ) Down the mountain set up the ghost array besiege Qi general Sun Bin， finally the last make peace between the two countries.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 10:26, 29 September 2021 (UTC)&lt;br /&gt;
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==亚非语言文学	202120081509	刘越	女==&lt;br /&gt;
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香玉──典出唐·温庭筠《晚归曲》：“弯堤弱柳遥相瞩，雀扇团圆掩香玉。”原比喻美女散发的香气和洁白如玉的肌肤。这里是把玉石的“玉”和林黛玉的“玉”合为一体，以比喻美女林黛玉。&lt;br /&gt;
《孙行者大闹天宫》──京剧和地方戏均有此剧目，取材于小说《西游记》。写孙悟空跟随唐僧前大闹天宫的故事。&lt;br /&gt;
《姜太公斩将封神》──京剧和地方戏均有此剧目，取材于小说《封神演义》。写姜太公助周灭商后斩将封神的故事。 按：以上四剧皆为闹剧，隐寓宁国府子弟粗俗不堪。&lt;br /&gt;
献酬──亦作“献醻”。指酒席上主宾互相敬酒。《诗经·小雅·楚茨》：“献醻交错，礼仪卒度，笑语卒获。”郑玄笺：“始主人酌宾为献，宾既酌主人，主人又自饮酌宾曰醻。”&lt;br /&gt;
行令──即行酒令。是一种宴会中助兴的游戏。其方法是：由一人任令官，按一定规矩行令，违令或按令该饮者都要饮酒。&lt;br /&gt;
Sweet jade -- classic tang · Wen Tingjun late homing song : &amp;quot;Bent dike weak willow distant look, bird fan reunion mask sweet jade.&amp;quot; Originally used as a metaphor for beauty to send out fragrance and white jade skin. Here, the &amp;quot;jade&amp;quot; of jade and the &amp;quot;jade&amp;quot; of  Mascara Jade Forest are combined as a whole to compare the beauty Lin Daiyu.  &lt;br /&gt;
Monkey King Makes Havoc in Heaven-- a play in Both Beijing and local operas, based on the novel 'Journey to the West.' It tells the story of Sun Wukong who caused havoc in heaven before he followed Tang Priest. &lt;br /&gt;
Jiang Taigong beheaded a General and canonized a God. This play is used in Both Beijing Opera and local opera, and is based on the novel Creation of the Gods(Fengshen Yanyi). Write the story of Jiang Taigong, who helped Zhou destroy the Shang dynasty and then beheaded the generals and sealed the gods. The author explains: the above four plays are farce, alluding to the vulgar children of the Ningguo mansion.&lt;br /&gt;
献酬（Make toasts）─ can also be said  献醻. Refers to the banquet guests toasting each other. The Book of  Songs· xiaoya ·chuets : &amp;quot;The host and the guest toast each other, the etiquette completely conforms to the law, then a word and a smile are appropriate natural.&amp;quot; Zheng Xuanjian: &amp;quot;First, the host toasts to the guests. After the guests drink the wine revered by the host, the host drinks it, which is called making toasts .&amp;quot; &lt;br /&gt;
Order -- that is, order to drink. It's a fun game at a banquet. Its method is: by a person as an officer, according to certain rules of the order, the violation or according to the order of the drinker to drink.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 10:26, 29 September 2021 (UTC)&lt;br /&gt;
Here is the &amp;quot;jade&amp;quot; of Jade and Lin Daiyu &amp;quot;jade&amp;quot; into one--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:38, 29 September 2021 (UTC)&lt;br /&gt;
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==亚非语言文学	202120081550	张秋怡	女==&lt;br /&gt;
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家生子儿——奴仆在主子家生养的子女。清代规定家奴之子女必须为奴，世代如此。清·赵翼《陔馀丛考·家生子儿》：“奴仆在主家所生子，俗谓家生子。按《法苑珠林》记庸岭有大蛇为患，都尉令长求人家生婢子及有罪家女祭之，‘家生’之名见此。”(按：《法苑珠林》为唐·释道世撰。)又《汉书·陈胜传》“秦令少府章邯免骊山徒、人奴产子”唐·颜师古注：“奴产子，犹今人云家生奴也。”“家生奴”即“家生子”。可知“家生子”或“家生奴”之称至少在唐代已有。&lt;br /&gt;
卖倒的死契——指双方约定卖出后不能赎身、必须终生为奴的卖身契。 卖倒：犹“卖定”、“卖死”。不可变更或反悔之意。&lt;br /&gt;
禄蠹——禄：身居官爵，享受俸禄。 蠹：蛀虫。 “禄蠹”或本“国蠧”，出自《左传·襄公二十二年》：“不可使也，而傲使人，国之蠧也。”意思是本无治国之才而身居高位，便是国家的蛀虫。“禄蠹”与“国蠧” 的意思基本上一样，也是指身居高位、坐享国家俸禄而不干实事的官吏。&lt;br /&gt;
Offspring - The offspring of a servant in his master's house.The Qing Dynasty stipulated that the children of domestic slaves must be slaves,from generation to generation so.Qing · Zhaoyi “Gai Yu Cong Kao·The offspring of a servant in his master's house”：“A son born to a slave in his master's house is called a son of the family. according to the story in the Pearl forest of Fayuan that there was a snake in yongling, the commander ordered the family to give birth to maidservants and guilty family female sacrifice, the name of ‘Jia Sheng’ can be seen here.”(according to: the Pearl forest of Fayuan was written for Tang· Shi Daoshi.) Also in The Book of Han · Biography of Chen Sheng, “The Qin Dynasty sent Zhang Han to pardon those who had served in mount Lishan for crimes and the sons born to house slaves”Tang · Yan Shigu notes: “Slaves give birth to children, and is also slaves”.“family born slave” is “family born child”. It can be known that “family born son” or “family born slave” had been known at least in the Tang Dynasty.Dead deed of sale refers to the deed of sale in which both parties agree that they cannot redeem themselves and must be slaves for life. Sell down:  “sell it” and “sell it to death”.The meaning of not changing or repentance.“LU DU”-Lu：official status, enjoy the salary. Du：moth. “Ludu” or  “Guodu” from “Zuo Zhuan · Xianggong 22 years”: “do not make, but proud to make people the worm of the nation.It means that if you are in a high position without the ability to govern a country, you are the moth of the country. “Ludu” and “Guodu” basically the same meaning, also refers to a high position, enjoy the state salary and do not work officials.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 01:29, 29 September 2021 (UTC)&lt;br /&gt;
--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:47, 11 October 2021 (UTC)&lt;br /&gt;
Annotation:&lt;br /&gt;
First:The common term for a son born to a slave in his master’s house is a family son.&lt;br /&gt;
Second:It means that if you are in a high position without the ability to govern a country,you are the moth of the country.&lt;br /&gt;
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==亚非语言文学	202120081524	王逸凡	女==&lt;br /&gt;
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明明德——头一个“明”为动词。彰明、弘扬之意。 明德：美德，至德，完美的道德。 语出《礼记·大学》：“大学之道，在明明德，在亲民，在止于至善。”意思是弘扬完美的道德。这里是指贾宝玉只肯定包括《大学》在内的《四书》(《论语》、《大学》、《中庸》、《孟子》)是正经书，其他书都要不得。&lt;br /&gt;
魔星——曹雪芹的原作为“天魔星”，显然是借用了佛家和道家的“天魔”之说。佛家说“天魔”为欲界第六天主。如《楞严经》卷九说：“或汝阴魔，或复天魔。”又《百喻经·小儿得大龟喻》说：“邪见外道，天魔波旬，及恶知识，而语之言，汝但极意六尘，恣情五欲，如我语者，必得解脱。”道家则说“天魔”为天上的魔怪。如《云笈七签》卷四说：“有经无符，则天魔害人。”这里的“魔星”则为冤家之意。&lt;br /&gt;
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Mingmingde-The first Ming is a verb which means obviousness, clearness or carrying forward and the word  Mingde means virtue,supreme virtue,perfect morality. The Book of  Rites·Great learningnsaid that The way of a university lies in being clear and virtuous, being close to the people and being perfect. It means to promote perfect morality. Precious Jade Merchant only affirmed The Four Books including Great learning. (Analects,Great Learning,The Doctrine of the Mean, Mencius) are the proper scriptures and the other books are not acceptable.&lt;br /&gt;
Devil star—Cao Xueqin's original as heaven devil star apparently borrowed Buddhism and Taoism’s doctrine of heaven devil.Buddhists say that demons are the sixth god of desire.For example,volume 9 of the Surangama Sutra says, Either you cast shadows or you recover demons from heaven.And Buddhist parables said Evil sees the outside world,the sky is full of demons,and evil knowledge.But as you speak,you will be free from your desires.Taoism says that demons of heaven are demons in the sky.Such as Cloud gupta seven signs volume 4 said there is no sign,then the devil harm people.The devil star here is the meaning of enemy.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 12:34, 30 December 2021 (UTC)&lt;br /&gt;
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Laba Porridge-Originated from what Buddhism calls &amp;quot;Buddha Bathing Day&amp;quot;. According to legend, Sakyamuni was born on the eighth day of the fourth month of the lunar calendar. Therefore, since the Han Dynasty, every Buddhist temple has held commemorative activities on this day. , &amp;quot;Buddhist Bathing Festival&amp;quot; or &amp;quot;Buddha Day&amp;quot;. &amp;quot;The Book of the Later Han Dynasty·Tao Qian Biography&amp;quot; said:&amp;quot; Every time Buddha baths, to provid alms and rice to the road.&amp;quot;In the Southern Dynasties Liang Zongmo's &amp;quot;Jingchu Sui Shi Ji&amp;quot; said: &amp;quot;April 8th, all monasteries Set up a fast, bath the Buddha with five-color perfume, and make Longhua Hui together. According to &amp;quot;The Biography of the Eminent Monk&amp;quot;: ‘On April 8th, to bathe the Buddha, use Duliang incense as blue water, tulip as red water, Qiulong incense as white water, aconite incense as yellow water, benzoin as black water, to infuse the top of the Buddha. ’&amp;quot;In the Song Dynasty, the day of Sakyamuni’s Buddhahood, the eighth day of the twelfth lunar month, was the &amp;quot;Buddha Bathing Day.&amp;quot; Every time this day, all the temples held commemorative activities, not only followed the alms, bathing Buddha and other items, but also added laba porridge, known as &amp;quot;Buddha Bathing Day.&amp;quot; &amp;quot;On the eighth day of the lunar New Year, three or five monks and nuns in the streets chanted Buddha in teams. They would sit on a gold, bronze or wooden Buddha statue in a silver or bronze saro or a good basin. They would soak it in perfume and shower it with the branches of a tree and intended for the edification of the masses. The great monasteries served as bathing buddhas, and gave seven treasures and five flavors porridge and disciples, called &amp;quot;laba porridge&amp;quot;. Since then every families also cooks porridge with fruit and miscellaneous ingredients. &amp;quot;Since then, the phase has become a common practice, and it has not faded to this day.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:47, 11 October 2021 (UTC)&lt;br /&gt;
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Laba congee - Originated from a festival which calls “Buddha Bathing Day” in Buddhism. According to legend, Sakyamuni was born on the eighth of forth lunar month. Therefore, on this day, every Buddhist temple will hold activities since Han Dynasty. People will practice alms all over the place, and wash Buddha statues with water full of spices, which is called “Buddha Bathing Day”, “Buddha Bathing Festival” or “Buddha Buddhism Day”. “Book of Later Han Dynasty · Tao Qian Biography” said: “Every time Buddha baths, there are more drinking and rice to the homeless people. And Liang Zongmo, the author of “Jingchu Sui Shi Ji”, said: “April 8th, all monasteries set up a fast, bath the Buddha with five-color perfume, and make Longhua Hui together.”&lt;br /&gt;
According to “The Biography of the Eminent Monk”: “On April 8th, people use Duliang incense as blue water, Yujin incense as red water, Qiulong incense as white water, Fuzi incense as yellow water, and Anxi incense as black water, to infuse the top of the Buddha”. In Song Dynasty, the day when Sakyamuni became a Buddha, the eighth of twelfth lunar month, was the &amp;quot;Buddha Bathing Day.&amp;quot; On that day, all Buddhist temples held the activities which called “Buddha Bathing Activities”, not only followed the traditional items, but also added Laba congee. The folks also follow the example and eat Laba congee. We can see these things from “DongJingMengHualu·Volume Ten·December”, a book written by Meng in Song Dynasty: three or five monks and nuns in the streets chanted Buddha in teams. They would sit on a gold, bronze or wooden Buddha statue in a silver or bronze saro or a good basin. They would soak it in perfume and shower it with the branches of a tree and intended for the edification of the masses. The great monasteries served as bathing buddhas, and gave seven treasures and five flavors porridge and disciples, called ‘Laba congee’. Since then every families also cooks porridge with fruit and miscellaneous ingredients.” Since then, the phase has become a common practice, and it has not faded to this day.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:55, 11 October 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
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		<title>20211229 homework</title>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Mascara Jade Forest is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Precious Jade Merchant wrote &amp;quot;Pingping&amp;quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &amp;quot;introspection&amp;quot; is an abbreviation of &amp;quot;morning introspection&amp;quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.&lt;br /&gt;
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man  laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Rainvillage Merchant remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&amp;quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
At the same time, he took out a copy of &amp;quot;protecting official Fu&amp;quot; from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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You probably know where the murderer is hiding? &amp;quot; The doorman smiled and said, &amp;quot;to tell you the truth, I know not only the direction the murderer is hiding, but also the people who turn around. The dead ghost buyer also knows. Let me talk to you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?&amp;quot; Yu Cun replyed:&amp;quot;How should I know?&amp;quot; Menzi laughed coldly and said, &amp;quot;This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five, but why is she being sold recently?&amp;quot; Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Finally, Pity Zhen could  get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Rain Village Merchant says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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Rain Village Merchant said:&amp;quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&amp;quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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What about this plan, Master?&amp;quot; Yu Cun laughed, &amp;quot;No, it's not good. I'll have to think about it again, so that I can convince them.&amp;quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.&lt;br /&gt;
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Seeing  Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &amp;quot;things about your nephew has been finished, do not need to worry about&amp;quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
&lt;br /&gt;
守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
&lt;br /&gt;
又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
&lt;br /&gt;
Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
&lt;br /&gt;
Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
&lt;br /&gt;
Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
&lt;br /&gt;
“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated  to Lady King privately, &amp;quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
&lt;br /&gt;
There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
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at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
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At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
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Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
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Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
What will happen eventually? The monk in the ground temple will abuse the law.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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Female Red: also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;br /&gt;
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Refers to textiles, sewing, embroidery, etc.  --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=134906</id>
		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=134906"/>
		<updated>2021-12-30T06:34:44Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘胜楠 Liú Shèngnán 翻译学 女 202120081506 */&lt;/p&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Mascara Jade Forest is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Precious Jade Merchant wrote &amp;quot;Pingping&amp;quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &amp;quot;introspection&amp;quot; is an abbreviation of &amp;quot;morning introspection&amp;quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.&lt;br /&gt;
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man  laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Rainvillage Merchant remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&amp;quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
At the same time, he took out a copy of &amp;quot;protecting official Fu&amp;quot; from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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You probably know where the murderer is hiding? &amp;quot; The doorman smiled and said, &amp;quot;to tell you the truth, I know not only the direction the murderer is hiding, but also the people who turn around. The dead ghost buyer also knows. Let me talk to you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?&amp;quot; Yu Cun replyed:&amp;quot;How should I know?&amp;quot; Menzi laughed coldly and said, &amp;quot;This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five, but why is she being sold recently?&amp;quot; Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Finally, Pity Zhen could  get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Rain Village Merchant says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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Rain Village Merchant said:&amp;quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&amp;quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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What about this plan, Master?&amp;quot; Yu Cun laughed, &amp;quot;No, it's not good. I'll have to think about it again, so that I can convince them.&amp;quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.&lt;br /&gt;
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Seeing  Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &amp;quot;things about your nephew has been finished, do not need to worry about&amp;quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated  to Lady King privately, &amp;quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
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There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
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There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
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at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
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At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
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Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
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Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
What will happen eventually? The monk in the ground temple will abuse the law.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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Female Red: also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;br /&gt;
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Refers to textiles, sewing, embroidery, etc.  --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=134210</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=134210"/>
		<updated>2021-12-22T12:28:39Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': &amp;quot;''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': &amp;quot;The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons  in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here&lt;br /&gt;
--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Daiyu heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Daiyu.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Jia Zheng had received  his brother-in-law's letter, he immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)&lt;br /&gt;
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They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Master Merchant，and left for his post on a certain day. Now, when Daiyu disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Black Jade out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Lin is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, &amp;quot;The old lady just talked about you again and again in anticipation, and here you are.&amp;quot; then the four maids scrambled to open the curtain. Meanwhile a man said, &amp;quot;Miss Lin is coming.&amp;quot;--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Black Jade entered the room. Realizing that this was her grandmother, Black Jade was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Black Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U&lt;br /&gt;
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As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:&amp;quot;my sweety!&amp;quot;. The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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Baoyu's grandmother than introduce them respectively:&amp;quot;This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:&amp;quot;Invite the gilrs. Today here come the dear guest, so they don't need to go to school.&amp;quot; Surrounding people said yes, and two of them left.&lt;br /&gt;
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The Lady Dowager then introduced them respectively to Daiyu: &amp;quot;This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife.&amp;quot; Daiyu greeted them one by one. Her grandmother then said: &amp;quot;Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school.&amp;quot; Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Daiyu said, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&amp;quot;--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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Mrs. Xing said: “That’s fine.” So she ordered two Sisters to send Daiyu back by Carriage used before. So Daiyu farewell others. Mrs. Xing saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.&lt;br /&gt;
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Mrs. Xing said: “That’s fine.” So she ordered two Sisters to send Daiyu back by Carriage used before. So Daiyu farewell others. Mrs. Xing saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Rongxi hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Jia Yuan, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Daiyu thought that this was Jia Zheng's seat, because she saw that there were three chairs next to the bed with a half-used chair, so Daiyu sat down on the chair. She sat down next to Madam Wang after she had asked her to go to the bed again and again. Mrs. Wang said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
&lt;br /&gt;
Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
&lt;br /&gt;
若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
&lt;br /&gt;
“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
&lt;br /&gt;
Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
&lt;br /&gt;
==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
&lt;br /&gt;
So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
&lt;br /&gt;
Mrs. Jia said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mrs. Jia said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
Madame Wang rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and lady Feng.Dowager lady Chia, having inquired of Tai-yue what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Tai-yue replied. &amp;quot;What books are my cousins reading?&amp;quot; Tai-yue went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed dowager lady Chia; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
&lt;br /&gt;
The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Pao-yue was&lt;br /&gt;
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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&lt;br /&gt;
After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
&lt;br /&gt;
His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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&lt;br /&gt;
His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
&lt;br /&gt;
Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
&lt;br /&gt;
He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
&lt;br /&gt;
I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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可怜辜负好时光，于国于家无望。&lt;br /&gt;
The poor lived up to the good times, and the country was hopeless at home.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
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But she said that Mother Jia saw him come in and smiled: &amp;quot;The foreigner took off her clothes without seeing him, so she won't go to see your sister.&amp;quot;&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
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When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
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The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
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Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
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The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=134206</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=134206"/>
		<updated>2021-12-22T12:25:00Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': &amp;quot;''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': &amp;quot;The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons  in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Daiyu heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Daiyu.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Jia Zheng had received  his brother-in-law's letter, he immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)&lt;br /&gt;
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They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Master Merchant ，and left for his post on a certain day. Now, when Daiyu disembarked that day, she was served by a sedan chair sent by the Rong Mansion and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Black Jade out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Lin is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, &amp;quot;The old lady just talked about you again and again in anticipation, and here you are.&amp;quot; then the four maids scrambled to open the curtain. Meanwhile a man said, &amp;quot;Miss Lin is coming.&amp;quot;--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Black Jade entered the room. Realizing that this was her grandmother, Black Jade was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Black Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U&lt;br /&gt;
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As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:&amp;quot;my sweety!&amp;quot;. The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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Baoyu's grandmother than introduce them respectively:&amp;quot;This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:&amp;quot;Invite the gilrs. Today here come the dear guest, so they don't need to go to school.&amp;quot; Surrounding people said yes, and two of them left.&lt;br /&gt;
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The Lady Dowager then introduced them respectively to Daiyu: &amp;quot;This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife.&amp;quot; Daiyu greeted them one by one. Her grandmother then said: &amp;quot;Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school.&amp;quot; Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Daiyu said, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&amp;quot;--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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Mrs. Xing said: “That’s fine.” So she ordered two Sisters to send Daiyu back by Carriage used before. So Daiyu farewell others. Mrs. Xing saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.&lt;br /&gt;
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Mrs. Xing said: “That’s fine.” So she ordered two Sisters to send Daiyu back by Carriage used before. So Daiyu farewell others. Mrs. Xing saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Rongxi hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Jia Yuan, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Daiyu thought that this was Jia Zheng's seat, because she saw that there were three chairs next to the bed with a half-used chair, so Daiyu sat down on the chair. She sat down next to Madam Wang after she had asked her to go to the bed again and again. Mrs. Wang said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
&lt;br /&gt;
忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
&lt;br /&gt;
王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
&lt;br /&gt;
Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
&lt;br /&gt;
==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
&lt;br /&gt;
于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
&lt;br /&gt;
So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
&lt;br /&gt;
贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
&lt;br /&gt;
Mrs. Jia said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mrs. Jia said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
&lt;br /&gt;
旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
&lt;br /&gt;
Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
&lt;br /&gt;
Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
Madame Wang rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and lady Feng.Dowager lady Chia, having inquired of Tai-yue what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Tai-yue replied. &amp;quot;What books are my cousins reading?&amp;quot; Tai-yue went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed dowager lady Chia; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
&lt;br /&gt;
The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Pao-yue was&lt;br /&gt;
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
&lt;br /&gt;
His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
&lt;br /&gt;
Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
&lt;br /&gt;
He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
&lt;br /&gt;
I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
可怜辜负好时光，于国于家无望。&lt;br /&gt;
The poor lived up to the good times, and the country was hopeless at home.&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
&lt;br /&gt;
English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
&lt;br /&gt;
But she said that Mother Jia saw him come in and smiled: &amp;quot;The foreigner took off her clothes without seeing him, so she won't go to see your sister.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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&lt;br /&gt;
When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
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The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
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Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
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The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134186</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134186"/>
		<updated>2021-12-22T12:10:49Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Dowager lady Chia was so distressed that she clasped Pao-yue in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Pao-yue's face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Dowager lady Chia hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Xijiang Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134185</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134185"/>
		<updated>2021-12-22T12:09:26Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘胜楠 Liú Shèngnán 翻译学 女 202120081506 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Dowager lady Chia was so distressed that she clasped Pao-yue in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Pao-yue's face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Dowager lady Chia hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Xijiang Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=133986</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=133986"/>
		<updated>2021-12-19T12:44:12Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。&lt;br /&gt;
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--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Daiyu heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Daiyu.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Jia Zheng had received  his brother-in-law's letter, he immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)&lt;br /&gt;
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They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu disembarked that day, she was served by a sedan chair sent by the Rong Mansion and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Lin is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Black Jade entered the room. Realizing that this was her grandmother, Black Jade was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Black Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Daiyu said, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Rongxi hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Jia Yuan, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Daiyu thought that this was Jia Zheng's seat, because she saw that there were three chairs next to the bed with a half-used chair, so Daiyu sat down on the chair. She sat down next to Madam Wang after she had asked her to go to the bed again and again. Mrs. Wang said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
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The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
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Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
Madame Wang rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and lady Feng.Dowager lady Chia, having inquired of Tai-yue what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Tai-yue replied. &amp;quot;What books are my cousins reading?&amp;quot; Tai-yue went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed dowager lady Chia; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Pao-yue was&lt;br /&gt;
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
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Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
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He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
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I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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可怜辜负好时光，于国于家无望。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
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When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
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The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
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Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
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The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=133982</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=133982"/>
		<updated>2021-12-19T12:34:45Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 李怡 Lǐ Yí 法语语言文学 女 202120081504 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。&lt;br /&gt;
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--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Daiyu heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Daiyu.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Lin is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Black Jade entered the room. Realizing that this was her grandmother, Black Jade was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Black Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Daiyu said, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Rongxi hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Jia Yuan, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Daiyu thought that this was Jia Zheng's seat, because she saw that there were three chairs next to the bed with a half-used chair, so Daiyu sat down on the chair. She sat down next to Madam Wang after she had asked her to go to the bed again and again. Mrs. Wang said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
&lt;br /&gt;
贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
&lt;br /&gt;
Mrs. Jia said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mrs. Jia said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
&lt;br /&gt;
旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
&lt;br /&gt;
Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
&lt;br /&gt;
王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
&lt;br /&gt;
Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
Madame Wang rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and lady Feng.Dowager lady Chia, having inquired of Tai-yue what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Tai-yue replied. &amp;quot;What books are my cousins reading?&amp;quot; Tai-yue went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed dowager lady Chia; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
&lt;br /&gt;
The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Pao-yue was&lt;br /&gt;
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
&lt;br /&gt;
His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
&lt;br /&gt;
Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
&lt;br /&gt;
He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
&lt;br /&gt;
I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
可怜辜负好时光，于国于家无望。&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
天下无能第一，古今不肖无双。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
&lt;br /&gt;
English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
归了坐细看时，真是与众各别。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
&lt;br /&gt;
I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
态生两靥之愁，娇袭一身之病。&lt;br /&gt;
&lt;br /&gt;
The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
泪光点点，娇喘微微。&lt;br /&gt;
&lt;br /&gt;
Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_15&amp;diff=133863</id>
		<title>Trans Type EN 15</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_15&amp;diff=133863"/>
		<updated>2021-12-16T05:05:58Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
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However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
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==Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies==&lt;br /&gt;
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==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
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==关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法==&lt;br /&gt;
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==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
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===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
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Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
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===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
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This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
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===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
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Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time. Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.(Fang Han,2019:14)&lt;br /&gt;
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Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
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===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
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Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
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With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
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==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.(Xiong Bing,2014:82-88)&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
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Example 1: &lt;br /&gt;
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我施了天劫咒。&lt;br /&gt;
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译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.(Xia Zhengnong &amp;amp; Chen Zhili,2009,1013)&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
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The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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若命运不公，就和它斗到底。&lt;br /&gt;
&lt;br /&gt;
译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
&lt;br /&gt;
Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
&lt;br /&gt;
=====Omission=====&lt;br /&gt;
&lt;br /&gt;
Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华(2006).关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静(2016).浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord(2006). ''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis''[M].北京: 外语教学与研究出版社.&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord(2001). ''Translation as a Purposeful Activity: Functionalist Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心(2021). 中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵(2019). 目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南(2013).央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer(1989). ''Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed)''. The Translation Studies Reader. New York &amp;amp;London: Routledge.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁(2008). 论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能(2006). 英译汉教程''A Coursebook on English-Chinese Translation''[M].北京：高等教育出版社Beijing:Higher Education Press.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie(1997).''Dictionary of Translation Studies''. Manchester: St, Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立(2019). 辞海[M]''Ci Hai''.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵(2014). 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal.&lt;br /&gt;
&lt;br /&gt;
Xue Fei薛飞(2018). 目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics.&lt;br /&gt;
&lt;br /&gt;
Zhao Qi,Lu Qing 赵琦,卢澄(2013).论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition).&lt;br /&gt;
&lt;br /&gt;
Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies==&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
==关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法==&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time. Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.(Fang Han,2019:14)&lt;br /&gt;
&lt;br /&gt;
Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
&lt;br /&gt;
===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
&lt;br /&gt;
Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
&lt;br /&gt;
With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
&lt;br /&gt;
==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
&lt;br /&gt;
===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
&lt;br /&gt;
''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
&lt;br /&gt;
In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
&lt;br /&gt;
The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
&lt;br /&gt;
Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
&lt;br /&gt;
===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
&lt;br /&gt;
====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
&lt;br /&gt;
Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
&lt;br /&gt;
This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
&lt;br /&gt;
====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
&lt;br /&gt;
Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
&lt;br /&gt;
====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
&lt;br /&gt;
The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
&lt;br /&gt;
==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
&lt;br /&gt;
===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
&lt;br /&gt;
In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
&lt;br /&gt;
===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
&lt;br /&gt;
In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
我用乾坤圈才压制住他的魔性。&lt;br /&gt;
&lt;br /&gt;
译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
&lt;br /&gt;
The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.(Xia Zhengnong &amp;amp; Chen Zhili,2009,1013)&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
&lt;br /&gt;
Example 3: &lt;br /&gt;
&lt;br /&gt;
我是小妖怪&lt;br /&gt;
&lt;br /&gt;
逍遥又自在&lt;br /&gt;
&lt;br /&gt;
杀人不眨眼&lt;br /&gt;
&lt;br /&gt;
吃人不放盐&lt;br /&gt;
&lt;br /&gt;
一口七八个&lt;br /&gt;
&lt;br /&gt;
肚皮要撑破&lt;br /&gt;
&lt;br /&gt;
译：&lt;br /&gt;
&lt;br /&gt;
I am a scary demon&lt;br /&gt;
&lt;br /&gt;
Better run and hide&lt;br /&gt;
&lt;br /&gt;
Legend says I’ll eat and eat&lt;br /&gt;
&lt;br /&gt;
Until everyone has died&lt;br /&gt;
&lt;br /&gt;
And they’re right&lt;br /&gt;
&lt;br /&gt;
You should steer clear&lt;br /&gt;
&lt;br /&gt;
Best take their suggestion&lt;br /&gt;
&lt;br /&gt;
The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
若命运不公，就和它斗到底。&lt;br /&gt;
&lt;br /&gt;
译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
&lt;br /&gt;
Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
&lt;br /&gt;
=====Omission=====&lt;br /&gt;
&lt;br /&gt;
Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. ''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis''[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
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Cristiane Nord. ''Translation as a Purposeful Activity: Functionalist Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
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Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程''A Coursebook on English-Chinese Translation''[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
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Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
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Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]''Ci Hai''.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
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Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
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Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
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However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
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==Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies==&lt;br /&gt;
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==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
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==关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法==&lt;br /&gt;
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==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
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===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
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Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
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===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
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This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
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===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
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Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time. Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.(Fang Han,2019:14)&lt;br /&gt;
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Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
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===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
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Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
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With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
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==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.(Xiong Bing,2014:82-88)&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
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Example 1: &lt;br /&gt;
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我施了天劫咒。&lt;br /&gt;
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译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.(Xia Zhengnong &amp;amp; Chen Zhili,2009,1013)&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
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The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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若命运不公，就和它斗到底。&lt;br /&gt;
&lt;br /&gt;
译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
&lt;br /&gt;
Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
&lt;br /&gt;
=====Omission=====&lt;br /&gt;
&lt;br /&gt;
Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. ''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis''[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord. ''Translation as a Purposeful Activity: Functionalist Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程''A Coursebook on English-Chinese Translation''[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]''Ci Hai''.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
&lt;br /&gt;
Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
&lt;br /&gt;
Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* Subtitle Translation Methods and Techniques of Ne Zha */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies==&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
==关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法==&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time. Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.(Fang Han,2019:14)&lt;br /&gt;
&lt;br /&gt;
Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
&lt;br /&gt;
===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
&lt;br /&gt;
Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
&lt;br /&gt;
With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
&lt;br /&gt;
==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
&lt;br /&gt;
===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
&lt;br /&gt;
''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
&lt;br /&gt;
In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.(Xiong Bing,2014:82-88)&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
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Example 1: &lt;br /&gt;
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我施了天劫咒。&lt;br /&gt;
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译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
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The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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若命运不公，就和它斗到底。&lt;br /&gt;
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译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
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Example 5:&lt;br /&gt;
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人心中的成见像一座大山&lt;br /&gt;
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译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
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Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
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====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
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=====Omission=====&lt;br /&gt;
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Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 6:&lt;br /&gt;
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去你个鸟命！&lt;br /&gt;
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译文：Forget your fate!&lt;br /&gt;
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In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
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=====Addition=====&lt;br /&gt;
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As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 7:&lt;br /&gt;
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都尽力了。&lt;br /&gt;
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译：They did all their best.&lt;br /&gt;
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Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
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Example 8:&lt;br /&gt;
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他都是个死。&lt;br /&gt;
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译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
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In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
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All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
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Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
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High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
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Christiane Nord. ''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis''[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* The Title Translation of Ne Zha */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
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刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
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However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
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==Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies==&lt;br /&gt;
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==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
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==关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法==&lt;br /&gt;
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==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
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===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
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Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
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===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
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This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
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===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
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Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time. Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.(Fang Han,2019:14)&lt;br /&gt;
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Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
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===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
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Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
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With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
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==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
&lt;br /&gt;
You should steer clear&lt;br /&gt;
&lt;br /&gt;
Best take their suggestion&lt;br /&gt;
&lt;br /&gt;
The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
若命运不公，就和它斗到底。&lt;br /&gt;
&lt;br /&gt;
译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
&lt;br /&gt;
Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
&lt;br /&gt;
=====Omission=====&lt;br /&gt;
&lt;br /&gt;
Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. ''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis''[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord. ''Translation as a Purposeful Activity: Functionalist Approaches Explained''[M]. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程''A Coursebook on English-Chinese Translation''[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]''Ci Hai''.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
&lt;br /&gt;
Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
&lt;br /&gt;
Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
&lt;br /&gt;
Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* Studies Overseas */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies==&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
==关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法==&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time. Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.(Fang Han,2019:14)&lt;br /&gt;
&lt;br /&gt;
Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
&lt;br /&gt;
===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
&lt;br /&gt;
Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
&lt;br /&gt;
With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
&lt;br /&gt;
==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
&lt;br /&gt;
===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
&lt;br /&gt;
''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
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The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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若命运不公，就和它斗到底。&lt;br /&gt;
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译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
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Example 5:&lt;br /&gt;
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人心中的成见像一座大山&lt;br /&gt;
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译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
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Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
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====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
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=====Omission=====&lt;br /&gt;
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Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 6:&lt;br /&gt;
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去你个鸟命！&lt;br /&gt;
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译文：Forget your fate!&lt;br /&gt;
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In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
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=====Addition=====&lt;br /&gt;
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As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 7:&lt;br /&gt;
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都尽力了。&lt;br /&gt;
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译：They did all their best.&lt;br /&gt;
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Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
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Example 8:&lt;br /&gt;
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他都是个死。&lt;br /&gt;
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译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
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In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
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All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
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Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
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High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
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Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
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Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
&lt;br /&gt;
Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=133774</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=133774"/>
		<updated>2021-12-16T03:24:54Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Chapter 15 A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
&lt;br /&gt;
[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
&lt;br /&gt;
30 Chapters（0/30)&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
&lt;br /&gt;
[[Book_projects|Back to translation project overview]]&lt;br /&gt;
&lt;br /&gt;
[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
&lt;br /&gt;
=Chapter 1: Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]]&lt;br /&gt;
&lt;br /&gt;
阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以《佛罗里达大沼泽公园》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
刘越Liu Yue,Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 5: Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 8: Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of a Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
&lt;br /&gt;
颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
&lt;br /&gt;
'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
&lt;br /&gt;
邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青,Hunan Normal University, China.&lt;br /&gt;
&lt;br /&gt;
=Chpater 11 Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
=Chapter 12 Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
Zohaib Chand, Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Numan,Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 15: A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_15]]&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=133772</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=133772"/>
		<updated>2021-12-16T03:24:34Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘胜楠 Chapter 15 A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
&lt;br /&gt;
[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
&lt;br /&gt;
30 Chapters（0/30)&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
&lt;br /&gt;
[[Book_projects|Back to translation project overview]]&lt;br /&gt;
&lt;br /&gt;
[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
&lt;br /&gt;
=Chapter 1: Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]]&lt;br /&gt;
&lt;br /&gt;
阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以《佛罗里达大沼泽公园》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
刘越Liu Yue,Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 5: Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 8: Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of a Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
&lt;br /&gt;
颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
&lt;br /&gt;
'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
&lt;br /&gt;
邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青,Hunan Normal University, China.&lt;br /&gt;
&lt;br /&gt;
=Chpater 11 Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
=Chapter 12 Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
Zohaib Chand, Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Numan,Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 15 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_15]]&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=133770</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=133770"/>
		<updated>2021-12-16T03:24:02Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘胜楠 A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
&lt;br /&gt;
[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
&lt;br /&gt;
30 Chapters（0/30)&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
&lt;br /&gt;
[[Book_projects|Back to translation project overview]]&lt;br /&gt;
&lt;br /&gt;
[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
&lt;br /&gt;
=Chapter 1: Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]]&lt;br /&gt;
&lt;br /&gt;
阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以《佛罗里达大沼泽公园》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
刘越Liu Yue,Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 5: Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 8: Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of a Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
&lt;br /&gt;
颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
&lt;br /&gt;
'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
&lt;br /&gt;
邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 10 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
&lt;br /&gt;
'''卞之琳的文学翻译理论和实践——以其浪漫主义诗歌译作为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青,Hunan Normal University, China.&lt;br /&gt;
&lt;br /&gt;
=Chpater 11 Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_11]]&lt;br /&gt;
&lt;br /&gt;
=Chapter 12 Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
Zohaib Chand, Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Numan,Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 Chapter 15 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_15]]&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_14&amp;diff=133769</id>
		<title>Trans Type EN 14</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_14&amp;diff=133769"/>
		<updated>2021-12-16T03:22:53Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Introduction:&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task &lt;br /&gt;
poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units &lt;br /&gt;
such as idioms and collocations. Typical problems of ambiguity are discussed in Section &lt;br /&gt;
6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. &lt;br /&gt;
Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are &lt;br /&gt;
the size of the company, as evidenced by the number of rules and &lt;br /&gt;
dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. &lt;br /&gt;
While there is a reasonable description of a phenomenon or construction, &lt;br /&gt;
there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
[[Correction]]: In this chapter, we will study some special problems brought by translation tasks to machine translation system manufacturers, as well as some reasons for translation difficulties. Ambiguity, (II) problems caused by structural and lexical differences between languages, and (III) multi word units, such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches are discussed in section 6.3, and units are discussed in section 6.4. Of course, these problems are not the only reason for TM difficulties. Other problems are the size of the company, the number of rules and dictionary entries required by the real system, which is proved by the fact that Multi structure grammars are not well understood, that is, they are not well understood. Obviously, even in well-learned English, how they express, or according to what rules to describe. There are detailed descriptions - both traditional &amp;quot;descriptive&amp;quot; descriptions and theoretically complex &amp;quot;descriptive&amp;quot; descriptions - some of which are written considering the availability of arithmetic. This is a worse problem for other languages. Although there is a reasonable description of a phenomenon or structure, it is not a small problem to create a sufficiently accurate description for the use of automation systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 03:20, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
&lt;br /&gt;
(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
&lt;br /&gt;
As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
&lt;br /&gt;
(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
&lt;br /&gt;
(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
&lt;br /&gt;
(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
&lt;br /&gt;
(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
&lt;br /&gt;
(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
&lt;br /&gt;
(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
&lt;br /&gt;
(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
&lt;br /&gt;
(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
&lt;br /&gt;
(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
&lt;br /&gt;
(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
&lt;br /&gt;
(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
&lt;br /&gt;
(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
&lt;br /&gt;
(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
&lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Correction]]:Roughly speaking, idioms are expressions whose meanings can not be absolutely understood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact that ''kick the bucket'' is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in the MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example taking the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical meaning. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:03, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
&lt;br /&gt;
[[Correction]]: This bankruptcy seems at a few troubles which face the builder of MT systems. We characterize them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy, we mentions times of lexical and structural mismatches and the trouble of non-compositionality (as exemplified via way of means of idioms and collocations) and check out a few techniques for handling them in MT systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:59, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Correcrion]]:The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). A detailed discussion of the problem can be found in Arnold et al. (1988),and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇsee for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).A classic discussion of translation problems is Vinay and Darbelnet (1977). This isconcerned with translation problems as faced by humans, rather than machines, but it points out several of the problems mentioned here.The discussion in this chapter touches on two issues of general linguistic and philosophical interest: to what extent human languages really do carve the world up differently, andwhether there are some sentences in some languages which cannot be translated into other languages. As regards the first question, it seems as though there are some limits. For example, though languages carve the colour spectrum up rather differently, so there can be rather large differences between colour words in terms of their extensions, there seems to be a high level of agreement about ‘best instances’. That is, though the extension of English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 03:22, 16 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_14&amp;diff=133765</id>
		<title>Trans Type EN 14</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_14&amp;diff=133765"/>
		<updated>2021-12-16T03:21:16Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Summary */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Introduction:&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task &lt;br /&gt;
poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units &lt;br /&gt;
such as idioms and collocations. Typical problems of ambiguity are discussed in Section &lt;br /&gt;
6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. &lt;br /&gt;
Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are &lt;br /&gt;
the size of the company, as evidenced by the number of rules and &lt;br /&gt;
dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. &lt;br /&gt;
While there is a reasonable description of a phenomenon or construction, &lt;br /&gt;
there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
[[Correction]]: In this chapter, we will study some special problems brought by translation tasks to machine translation system manufacturers, as well as some reasons for translation difficulties. Ambiguity, (II) problems caused by structural and lexical differences between languages, and (III) multi word units, such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches are discussed in section 6.3, and units are discussed in section 6.4. Of course, these problems are not the only reason for TM difficulties. Other problems are the size of the company, the number of rules and dictionary entries required by the real system, which is proved by the fact that Multi structure grammars are not well understood, that is, they are not well understood. Obviously, even in well-learned English, how they express, or according to what rules to describe. There are detailed descriptions - both traditional &amp;quot;descriptive&amp;quot; descriptions and theoretically complex &amp;quot;descriptive&amp;quot; descriptions - some of which are written considering the availability of arithmetic. This is a worse problem for other languages. Although there is a reasonable description of a phenomenon or structure, it is not a small problem to create a sufficiently accurate description for the use of automation systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 03:20, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
&lt;br /&gt;
(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
&lt;br /&gt;
As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
&lt;br /&gt;
(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
&lt;br /&gt;
(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
&lt;br /&gt;
(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
&lt;br /&gt;
(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
&lt;br /&gt;
(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
&lt;br /&gt;
(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
&lt;br /&gt;
(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
&lt;br /&gt;
(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
&lt;br /&gt;
(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
&lt;br /&gt;
(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
&lt;br /&gt;
(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
&lt;br /&gt;
(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
&lt;br /&gt;
(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
&lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Correction]]:Roughly speaking, idioms are expressions whose meanings can not be absolutely understood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact that ''kick the bucket'' is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in the MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example taking the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical meaning. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:03, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
&lt;br /&gt;
[[Correction]]: This bankruptcy seems at a few troubles which face the builder of MT systems. We characterize them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy, we mentions times of lexical and structural mismatches and the trouble of non-compositionality (as exemplified via way of means of idioms and collocations) and check out a few techniques for handling them in MT systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:59, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Correcrion:&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇsee for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).A classic discussion of translation problems is Vinay and Darbelnet (1977). This isconcerned with translation problems as faced by humans, rather than machines, but it points out several of the problems mentioned here.The discussion in this chapter touches on two issues of general linguistic and philosophical interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other languages. As regards the first question, it seems as though there are some limits. For example, though languages carve the colour spectrum up rather differently, so there can be rather large differences between colour words in terms of their extensions, there seems to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:06, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_14&amp;diff=133764</id>
		<title>Trans Type EN 14</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_14&amp;diff=133764"/>
		<updated>2021-12-16T03:20:52Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Multiword units: Idioms and Collocations */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Introduction:&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task &lt;br /&gt;
poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units &lt;br /&gt;
such as idioms and collocations. Typical problems of ambiguity are discussed in Section &lt;br /&gt;
6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. &lt;br /&gt;
Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are &lt;br /&gt;
the size of the company, as evidenced by the number of rules and &lt;br /&gt;
dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. &lt;br /&gt;
While there is a reasonable description of a phenomenon or construction, &lt;br /&gt;
there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
[[Correction]]: In this chapter, we will study some special problems brought by translation tasks to machine translation system manufacturers, as well as some reasons for translation difficulties. Ambiguity, (II) problems caused by structural and lexical differences between languages, and (III) multi word units, such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches are discussed in section 6.3, and units are discussed in section 6.4. Of course, these problems are not the only reason for TM difficulties. Other problems are the size of the company, the number of rules and dictionary entries required by the real system, which is proved by the fact that Multi structure grammars are not well understood, that is, they are not well understood. Obviously, even in well-learned English, how they express, or according to what rules to describe. There are detailed descriptions - both traditional &amp;quot;descriptive&amp;quot; descriptions and theoretically complex &amp;quot;descriptive&amp;quot; descriptions - some of which are written considering the availability of arithmetic. This is a worse problem for other languages. Although there is a reasonable description of a phenomenon or structure, it is not a small problem to create a sufficiently accurate description for the use of automation systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 03:20, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
&lt;br /&gt;
(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
&lt;br /&gt;
As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
&lt;br /&gt;
(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
&lt;br /&gt;
(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
&lt;br /&gt;
(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
&lt;br /&gt;
(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
&lt;br /&gt;
(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
&lt;br /&gt;
(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
&lt;br /&gt;
(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
&lt;br /&gt;
(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
&lt;br /&gt;
(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
&lt;br /&gt;
(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
&lt;br /&gt;
(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
&lt;br /&gt;
(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
&lt;br /&gt;
(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
&lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Correction]]:Roughly speaking, idioms are expressions whose meanings can not be absolutely understood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact that ''kick the bucket'' is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in the MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example taking the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical meaning. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:03, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
&lt;br /&gt;
Correction: This bankruptcy seems at a few troubles which face the builder of MT systems. We characterize them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy, we mentions times of lexical and structural mismatches and the trouble of non-compositionality (as exemplified via way of means of idioms and collocations) and check out a few techniques for handling them in MT systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:59, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Correcrion:&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇsee for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).A classic discussion of translation problems is Vinay and Darbelnet (1977). This isconcerned with translation problems as faced by humans, rather than machines, but it points out several of the problems mentioned here.The discussion in this chapter touches on two issues of general linguistic and philosophical interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other languages. As regards the first question, it seems as though there are some limits. For example, though languages carve the colour spectrum up rather differently, so there can be rather large differences between colour words in terms of their extensions, there seems to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:06, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_14&amp;diff=133761</id>
		<title>Trans Type EN 14</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_14&amp;diff=133761"/>
		<updated>2021-12-16T03:20:03Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Introduction */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Introduction:&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task &lt;br /&gt;
poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units &lt;br /&gt;
such as idioms and collocations. Typical problems of ambiguity are discussed in Section &lt;br /&gt;
6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. &lt;br /&gt;
Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are &lt;br /&gt;
the size of the company, as evidenced by the number of rules and &lt;br /&gt;
dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. &lt;br /&gt;
While there is a reasonable description of a phenomenon or construction, &lt;br /&gt;
there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
[[Correction]]: In this chapter, we will study some special problems brought by translation tasks to machine translation system manufacturers, as well as some reasons for translation difficulties. Ambiguity, (II) problems caused by structural and lexical differences between languages, and (III) multi word units, such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches are discussed in section 6.3, and units are discussed in section 6.4. Of course, these problems are not the only reason for TM difficulties. Other problems are the size of the company, the number of rules and dictionary entries required by the real system, which is proved by the fact that Multi structure grammars are not well understood, that is, they are not well understood. Obviously, even in well-learned English, how they express, or according to what rules to describe. There are detailed descriptions - both traditional &amp;quot;descriptive&amp;quot; descriptions and theoretically complex &amp;quot;descriptive&amp;quot; descriptions - some of which are written considering the availability of arithmetic. This is a worse problem for other languages. Although there is a reasonable description of a phenomenon or structure, it is not a small problem to create a sufficiently accurate description for the use of automation systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 03:20, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
&lt;br /&gt;
(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
&lt;br /&gt;
As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
&lt;br /&gt;
(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
&lt;br /&gt;
(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
&lt;br /&gt;
(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
&lt;br /&gt;
(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
&lt;br /&gt;
(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
&lt;br /&gt;
(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
&lt;br /&gt;
(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
&lt;br /&gt;
(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
&lt;br /&gt;
(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
&lt;br /&gt;
(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
&lt;br /&gt;
(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
&lt;br /&gt;
(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
&lt;br /&gt;
(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
&lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Correction:Roughly speaking, idioms are expressions whose meanings can not be absolutely understood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact that ''kick the bucket'' is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in the MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example taking the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical meaning. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:03, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
&lt;br /&gt;
Correction: This bankruptcy seems at a few troubles which face the builder of MT systems. We characterize them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy, we mentions times of lexical and structural mismatches and the trouble of non-compositionality (as exemplified via way of means of idioms and collocations) and check out a few techniques for handling them in MT systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:59, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Correcrion:&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇsee for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).A classic discussion of translation problems is Vinay and Darbelnet (1977). This isconcerned with translation problems as faced by humans, rather than machines, but it points out several of the problems mentioned here.The discussion in this chapter touches on two issues of general linguistic and philosophical interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other languages. As regards the first question, it seems as though there are some limits. For example, though languages carve the colour spectrum up rather differently, so there can be rather large differences between colour words in terms of their extensions, there seems to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:06, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_14&amp;diff=133758</id>
		<title>Trans Type EN 14</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_14&amp;diff=133758"/>
		<updated>2021-12-16T03:18:02Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Summary */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Introduction:&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task &lt;br /&gt;
poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units &lt;br /&gt;
such as idioms and collocations. Typical problems of ambiguity are discussed in Section &lt;br /&gt;
6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. &lt;br /&gt;
Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are &lt;br /&gt;
the size of the company, as evidenced by the number of rules and &lt;br /&gt;
dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. &lt;br /&gt;
While there is a reasonable description of a phenomenon or construction, &lt;br /&gt;
there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
Correction: In this chapter, some of the particular problems that translation task poses for the machine translation system manufacturer and some of the reasons why translation is difficult will be discussed.First of all, it is ambiguity that cause problems to arise from structural and lexical differences between languages, and multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2,lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented or by what rules they are to be described, even in well-studied English, and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction,there is no trivial problem in creating a description that is accurate enough to be used by an automated system.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:50, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
&lt;br /&gt;
(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
&lt;br /&gt;
As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
&lt;br /&gt;
(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
&lt;br /&gt;
(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
&lt;br /&gt;
(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
&lt;br /&gt;
(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
&lt;br /&gt;
(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
&lt;br /&gt;
(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
&lt;br /&gt;
(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
&lt;br /&gt;
(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
&lt;br /&gt;
(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
&lt;br /&gt;
(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
&lt;br /&gt;
(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
&lt;br /&gt;
(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
&lt;br /&gt;
(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
&lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Correction:Roughly speaking, idioms are expressions whose meanings can not be absolutely understood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact that ''kick the bucket'' is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in the MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example taking the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical meaning. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:03, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
&lt;br /&gt;
Correction: This bankruptcy seems at a few troubles which face the builder of MT systems. We characterize them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy, we mentions times of lexical and structural mismatches and the trouble of non-compositionality (as exemplified via way of means of idioms and collocations) and check out a few techniques for handling them in MT systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:59, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Correcrion:&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇsee for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).A classic discussion of translation problems is Vinay and Darbelnet (1977). This isconcerned with translation problems as faced by humans, rather than machines, but it points out several of the problems mentioned here.The discussion in this chapter touches on two issues of general linguistic and philosophical interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other languages. As regards the first question, it seems as though there are some limits. For example, though languages carve the colour spectrum up rather differently, so there can be rather large differences between colour words in terms of their extensions, there seems to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:06, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_15&amp;diff=133753</id>
		<title>Trans Type EN 15</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_15&amp;diff=133753"/>
		<updated>2021-12-16T03:16:15Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies==&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
==关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法==&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
&lt;br /&gt;
Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
&lt;br /&gt;
===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
&lt;br /&gt;
Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
&lt;br /&gt;
With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
&lt;br /&gt;
==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
&lt;br /&gt;
===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
&lt;br /&gt;
''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
&lt;br /&gt;
In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
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The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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若命运不公，就和它斗到底。&lt;br /&gt;
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译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
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Example 5:&lt;br /&gt;
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人心中的成见像一座大山&lt;br /&gt;
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译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
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Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
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====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
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=====Omission=====&lt;br /&gt;
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Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 6:&lt;br /&gt;
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去你个鸟命！&lt;br /&gt;
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译文：Forget your fate!&lt;br /&gt;
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In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
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=====Addition=====&lt;br /&gt;
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As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 7:&lt;br /&gt;
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都尽力了。&lt;br /&gt;
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译：They did all their best.&lt;br /&gt;
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Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
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Example 8:&lt;br /&gt;
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他都是个死。&lt;br /&gt;
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译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
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In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
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All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
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Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
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High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
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Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
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Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
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刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
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However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
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==Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies==&lt;br /&gt;
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==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
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==关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法==&lt;br /&gt;
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==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
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===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
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Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
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===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
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This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
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===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
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Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
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Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
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===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
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Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
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With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
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==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
&lt;br /&gt;
Example 3: &lt;br /&gt;
&lt;br /&gt;
我是小妖怪&lt;br /&gt;
&lt;br /&gt;
逍遥又自在&lt;br /&gt;
&lt;br /&gt;
杀人不眨眼&lt;br /&gt;
&lt;br /&gt;
吃人不放盐&lt;br /&gt;
&lt;br /&gt;
一口七八个&lt;br /&gt;
&lt;br /&gt;
肚皮要撑破&lt;br /&gt;
&lt;br /&gt;
译：&lt;br /&gt;
&lt;br /&gt;
I am a scary demon&lt;br /&gt;
&lt;br /&gt;
Better run and hide&lt;br /&gt;
&lt;br /&gt;
Legend says I’ll eat and eat&lt;br /&gt;
&lt;br /&gt;
Until everyone has died&lt;br /&gt;
&lt;br /&gt;
And they’re right&lt;br /&gt;
&lt;br /&gt;
You should steer clear&lt;br /&gt;
&lt;br /&gt;
Best take their suggestion&lt;br /&gt;
&lt;br /&gt;
The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
若命运不公，就和它斗到底。&lt;br /&gt;
&lt;br /&gt;
译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
&lt;br /&gt;
Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
&lt;br /&gt;
=====Omission=====&lt;br /&gt;
&lt;br /&gt;
Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord. Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程A Coursebook on English-Chinese Translation[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
&lt;br /&gt;
Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
&lt;br /&gt;
Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* Abstract */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
==Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies==&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
&lt;br /&gt;
Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
&lt;br /&gt;
===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
&lt;br /&gt;
Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
&lt;br /&gt;
With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
&lt;br /&gt;
==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
&lt;br /&gt;
===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
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The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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若命运不公，就和它斗到底。&lt;br /&gt;
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译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
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Example 5:&lt;br /&gt;
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人心中的成见像一座大山&lt;br /&gt;
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译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
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Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
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====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
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=====Omission=====&lt;br /&gt;
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Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 6:&lt;br /&gt;
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去你个鸟命！&lt;br /&gt;
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译文：Forget your fate!&lt;br /&gt;
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In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
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=====Addition=====&lt;br /&gt;
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As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 7:&lt;br /&gt;
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都尽力了。&lt;br /&gt;
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译：They did all their best.&lt;br /&gt;
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Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
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Example 8:&lt;br /&gt;
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他都是个死。&lt;br /&gt;
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译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
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In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
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All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
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Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
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High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
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Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
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Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
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Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
&lt;br /&gt;
Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
&lt;br /&gt;
===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
&lt;br /&gt;
Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
&lt;br /&gt;
With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
&lt;br /&gt;
==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
&lt;br /&gt;
Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
&lt;br /&gt;
===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
&lt;br /&gt;
In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
我用乾坤圈才压制住他的魔性。&lt;br /&gt;
&lt;br /&gt;
译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
&lt;br /&gt;
The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
&lt;br /&gt;
“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
&lt;br /&gt;
Example 3: &lt;br /&gt;
&lt;br /&gt;
我是小妖怪&lt;br /&gt;
&lt;br /&gt;
逍遥又自在&lt;br /&gt;
&lt;br /&gt;
杀人不眨眼&lt;br /&gt;
&lt;br /&gt;
吃人不放盐&lt;br /&gt;
&lt;br /&gt;
一口七八个&lt;br /&gt;
&lt;br /&gt;
肚皮要撑破&lt;br /&gt;
&lt;br /&gt;
译：&lt;br /&gt;
&lt;br /&gt;
I am a scary demon&lt;br /&gt;
&lt;br /&gt;
Better run and hide&lt;br /&gt;
&lt;br /&gt;
Legend says I’ll eat and eat&lt;br /&gt;
&lt;br /&gt;
Until everyone has died&lt;br /&gt;
&lt;br /&gt;
And they’re right&lt;br /&gt;
&lt;br /&gt;
You should steer clear&lt;br /&gt;
&lt;br /&gt;
Best take their suggestion&lt;br /&gt;
&lt;br /&gt;
The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
若命运不公，就和它斗到底。&lt;br /&gt;
&lt;br /&gt;
译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
&lt;br /&gt;
Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
&lt;br /&gt;
=====Omission=====&lt;br /&gt;
&lt;br /&gt;
Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord. Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程A Coursebook on English-Chinese Translation[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
&lt;br /&gt;
Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
&lt;br /&gt;
Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
&lt;br /&gt;
Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* Studies in China */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
As Chinese film and TV industry are booming. Here we should use &amp;quot; are&amp;quot; to show the plural form. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:58, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
&lt;br /&gt;
Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
&lt;br /&gt;
===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
&lt;br /&gt;
Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
&lt;br /&gt;
With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
&lt;br /&gt;
==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
&lt;br /&gt;
===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
&lt;br /&gt;
''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
&lt;br /&gt;
Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
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The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
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Example 4:&lt;br /&gt;
&lt;br /&gt;
若命运不公，就和它斗到底。&lt;br /&gt;
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译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
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Example 5:&lt;br /&gt;
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人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
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Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
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=====Omission=====&lt;br /&gt;
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Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
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=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
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High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
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Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
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Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
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Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
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Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* Evaluation on Subtitle Translation of Ne Zha under Skopos Theory */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
As Chinese film and TV industry are booming. Here we should use &amp;quot; are&amp;quot; to show the plural form. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:58, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
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关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
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===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
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This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
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Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
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===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
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Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
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With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
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adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. I suggest to change the &amp;quot;becomes&amp;quot; into &amp;quot;has become&amp;quot;, because the time mark here is recent years. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:06, 14 December 2021 (UTC)&lt;br /&gt;
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==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
&lt;br /&gt;
In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Example 2:&lt;br /&gt;
&lt;br /&gt;
我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
&lt;br /&gt;
The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
&lt;br /&gt;
“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
&lt;br /&gt;
Example 3: &lt;br /&gt;
&lt;br /&gt;
我是小妖怪&lt;br /&gt;
&lt;br /&gt;
逍遥又自在&lt;br /&gt;
&lt;br /&gt;
杀人不眨眼&lt;br /&gt;
&lt;br /&gt;
吃人不放盐&lt;br /&gt;
&lt;br /&gt;
一口七八个&lt;br /&gt;
&lt;br /&gt;
肚皮要撑破&lt;br /&gt;
&lt;br /&gt;
译：&lt;br /&gt;
&lt;br /&gt;
I am a scary demon&lt;br /&gt;
&lt;br /&gt;
Better run and hide&lt;br /&gt;
&lt;br /&gt;
Legend says I’ll eat and eat&lt;br /&gt;
&lt;br /&gt;
Until everyone has died&lt;br /&gt;
&lt;br /&gt;
And they’re right&lt;br /&gt;
&lt;br /&gt;
You should steer clear&lt;br /&gt;
&lt;br /&gt;
Best take their suggestion&lt;br /&gt;
&lt;br /&gt;
The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
若命运不公，就和它斗到底。&lt;br /&gt;
&lt;br /&gt;
译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
&lt;br /&gt;
Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
&lt;br /&gt;
=====Omission=====&lt;br /&gt;
&lt;br /&gt;
Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord. Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程A Coursebook on English-Chinese Translation[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
&lt;br /&gt;
Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
&lt;br /&gt;
Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* Transliteration */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
As Chinese film and TV industry are booming. Here we should use &amp;quot; are&amp;quot; to show the plural form. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:58, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
&lt;br /&gt;
Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
&lt;br /&gt;
===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
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Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
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With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
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adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. I suggest to change the &amp;quot;becomes&amp;quot; into &amp;quot;has become&amp;quot;, because the time mark here is recent years. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:06, 14 December 2021 (UTC)&lt;br /&gt;
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==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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[[Correction:]]''Ne Zha'' has received great reputation in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory so as to find its inadequacies. There are several versions of subtitle translation of Ne Zha, and the following analysis of subtitle translation is based on the American version.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
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The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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若命运不公，就和它斗到底。&lt;br /&gt;
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译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
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Example 5:&lt;br /&gt;
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人心中的成见像一座大山&lt;br /&gt;
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译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
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Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
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====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
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=====Omission=====&lt;br /&gt;
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Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 6:&lt;br /&gt;
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去你个鸟命！&lt;br /&gt;
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译文：Forget your fate!&lt;br /&gt;
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In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
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=====Addition=====&lt;br /&gt;
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As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 7:&lt;br /&gt;
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都尽力了。&lt;br /&gt;
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译：They did all their best.&lt;br /&gt;
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Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
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Example 8:&lt;br /&gt;
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他都是个死。&lt;br /&gt;
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译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
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In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
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All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
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Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
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High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
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==References==&lt;br /&gt;
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Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord. Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程A Coursebook on English-Chinese Translation[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
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Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
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Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
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As Chinese film and TV industry are booming. Here we should use &amp;quot; are&amp;quot; to show the plural form. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:58, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
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Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies&lt;br /&gt;
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==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
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关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
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==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
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===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
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Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
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This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
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===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
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Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
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Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
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===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
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Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
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With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
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adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. I suggest to change the &amp;quot;becomes&amp;quot; into &amp;quot;has become&amp;quot;, because the time mark here is recent years. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:06, 14 December 2021 (UTC)&lt;br /&gt;
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==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]]''Ne Zha'' has received great reputation in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory so as to find its inadequacies. There are several versions of subtitle translation of Ne Zha, and the following analysis of subtitle translation is based on the American version.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
&lt;br /&gt;
The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
&lt;br /&gt;
In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
&lt;br /&gt;
===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
&lt;br /&gt;
In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
Maybe it is better to change&amp;quot;cultural exchange&amp;quot; into&amp;quot;culture communication&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:14, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
我用乾坤圈才压制住他的魔性。&lt;br /&gt;
&lt;br /&gt;
译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
&lt;br /&gt;
The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
&lt;br /&gt;
“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
&lt;br /&gt;
Example 3: &lt;br /&gt;
&lt;br /&gt;
我是小妖怪&lt;br /&gt;
&lt;br /&gt;
逍遥又自在&lt;br /&gt;
&lt;br /&gt;
杀人不眨眼&lt;br /&gt;
&lt;br /&gt;
吃人不放盐&lt;br /&gt;
&lt;br /&gt;
一口七八个&lt;br /&gt;
&lt;br /&gt;
肚皮要撑破&lt;br /&gt;
&lt;br /&gt;
译：&lt;br /&gt;
&lt;br /&gt;
I am a scary demon&lt;br /&gt;
&lt;br /&gt;
Better run and hide&lt;br /&gt;
&lt;br /&gt;
Legend says I’ll eat and eat&lt;br /&gt;
&lt;br /&gt;
Until everyone has died&lt;br /&gt;
&lt;br /&gt;
And they’re right&lt;br /&gt;
&lt;br /&gt;
You should steer clear&lt;br /&gt;
&lt;br /&gt;
Best take their suggestion&lt;br /&gt;
&lt;br /&gt;
The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
若命运不公，就和它斗到底。&lt;br /&gt;
&lt;br /&gt;
译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
&lt;br /&gt;
Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
&lt;br /&gt;
=====Omission=====&lt;br /&gt;
&lt;br /&gt;
Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord. Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程A Coursebook on English-Chinese Translation[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
&lt;br /&gt;
Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
&lt;br /&gt;
Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
As Chinese film and TV industry are booming. Here we should use &amp;quot; are&amp;quot; to show the plural form. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:58, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
&lt;br /&gt;
Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
&lt;br /&gt;
===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
&lt;br /&gt;
Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
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With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
&lt;br /&gt;
adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. I suggest to change the &amp;quot;becomes&amp;quot; into &amp;quot;has become&amp;quot;, because the time mark here is recent years. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:06, 14 December 2021 (UTC)&lt;br /&gt;
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==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
&lt;br /&gt;
====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
&lt;br /&gt;
Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
&lt;br /&gt;
====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]]''Ne Zha'' has received great reputation in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory so as to find its inadequacies. There are several versions of subtitle translation of Ne Zha, and the following analysis of subtitle translation is based on the American version.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
&lt;br /&gt;
In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Maybe it is better to change&amp;quot;cultural exchange&amp;quot; into&amp;quot;culture communication&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:14, 14 December 2021 (UTC)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
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The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
  &lt;br /&gt;
The revised translation is rhyming ——The revised translation is rhythmic--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:18, 14 December 2021 (UTC)&lt;br /&gt;
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Example 4:&lt;br /&gt;
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若命运不公，就和它斗到底。&lt;br /&gt;
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译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
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Example 5:&lt;br /&gt;
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人心中的成见像一座大山&lt;br /&gt;
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译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
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Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
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====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
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=====Omission=====&lt;br /&gt;
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Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 6:&lt;br /&gt;
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去你个鸟命！&lt;br /&gt;
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译文：Forget your fate!&lt;br /&gt;
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In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
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=====Addition=====&lt;br /&gt;
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As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord. Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程A Coursebook on English-Chinese Translation[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
&lt;br /&gt;
Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
&lt;br /&gt;
Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
As Chinese film and TV industry are booming. Here we should use &amp;quot; are&amp;quot; to show the plural form. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:58, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
&lt;br /&gt;
Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
&lt;br /&gt;
===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
&lt;br /&gt;
Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
&lt;br /&gt;
With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
&lt;br /&gt;
adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. I suggest to change the &amp;quot;becomes&amp;quot; into &amp;quot;has become&amp;quot;, because the time mark here is recent years. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:06, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
&lt;br /&gt;
===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
&lt;br /&gt;
''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
&lt;br /&gt;
In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
&lt;br /&gt;
The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
&lt;br /&gt;
Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
&lt;br /&gt;
===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
&lt;br /&gt;
====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
&lt;br /&gt;
Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
&lt;br /&gt;
This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
&lt;br /&gt;
====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
&lt;br /&gt;
Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
&lt;br /&gt;
====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
&lt;br /&gt;
The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
&lt;br /&gt;
==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]]''Ne Zha'' has received great reputation in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory so as to find its inadequacies. There are several versions of subtitle translation of Ne Zha, and the following analysis of subtitle translation is based on the American version.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
&lt;br /&gt;
This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
&lt;br /&gt;
The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
&lt;br /&gt;
In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
Maybe it is better to change&amp;quot;cultural exchange&amp;quot; into&amp;quot;culture communication&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:14, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
我用乾坤圈才压制住他的魔性。&lt;br /&gt;
&lt;br /&gt;
译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
&lt;br /&gt;
The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
&lt;br /&gt;
“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
&lt;br /&gt;
我是小妖怪&lt;br /&gt;
&lt;br /&gt;
逍遥又自在&lt;br /&gt;
&lt;br /&gt;
杀人不眨眼&lt;br /&gt;
&lt;br /&gt;
吃人不放盐&lt;br /&gt;
&lt;br /&gt;
一口七八个&lt;br /&gt;
&lt;br /&gt;
肚皮要撑破&lt;br /&gt;
&lt;br /&gt;
译：&lt;br /&gt;
&lt;br /&gt;
I am a scary demon&lt;br /&gt;
&lt;br /&gt;
Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
&lt;br /&gt;
Until everyone has died&lt;br /&gt;
&lt;br /&gt;
And they’re right&lt;br /&gt;
&lt;br /&gt;
You should steer clear&lt;br /&gt;
&lt;br /&gt;
Best take their suggestion&lt;br /&gt;
&lt;br /&gt;
The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
  &lt;br /&gt;
The revised translation is rhyming ——The revised translation is rhythmic--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:18, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
若命运不公，就和它斗到底。&lt;br /&gt;
&lt;br /&gt;
译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
&lt;br /&gt;
Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
&lt;br /&gt;
=====Omission=====&lt;br /&gt;
&lt;br /&gt;
Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]]As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, it will set a still higher demand on the requirement of accuracy in subtitle translation.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:34, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord. Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程A Coursebook on English-Chinese Translation[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
&lt;br /&gt;
Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
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Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<updated>2021-12-16T03:06:25Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Literal Translation */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
As Chinese film and TV industry are booming. Here we should use &amp;quot; are&amp;quot; to show the plural form. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:58, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
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关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
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==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
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===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
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Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
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===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
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This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
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===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
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Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
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===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
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Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
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With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
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adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. I suggest to change the &amp;quot;becomes&amp;quot; into &amp;quot;has become&amp;quot;, because the time mark here is recent years. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:06, 14 December 2021 (UTC)&lt;br /&gt;
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==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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[[Correction:]]''Ne Zha'' has received great reputation in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory so as to find its inadequacies. There are several versions of subtitle translation of Ne Zha, and the following analysis of subtitle translation is based on the American version.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Maybe it is better to change&amp;quot;cultural exchange&amp;quot; into&amp;quot;culture communication&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:14, 14 December 2021 (UTC)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
&lt;br /&gt;
The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
  &lt;br /&gt;
The revised translation is rhyming ——The revised translation is rhythmic--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:18, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
若命运不公，就和它斗到底。&lt;br /&gt;
&lt;br /&gt;
译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
&lt;br /&gt;
Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
&lt;br /&gt;
=====Omission=====&lt;br /&gt;
&lt;br /&gt;
Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]]As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, it will set a still higher demand on the requirement of accuracy in subtitle translation.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:34, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord. Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程A Coursebook on English-Chinese Translation[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
&lt;br /&gt;
Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
&lt;br /&gt;
Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
&lt;br /&gt;
Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* The Title Translation of Ne Zha */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
As Chinese film and TV industry are booming. Here we should use &amp;quot; are&amp;quot; to show the plural form. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:58, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
&lt;br /&gt;
Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
&lt;br /&gt;
===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
&lt;br /&gt;
Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
&lt;br /&gt;
With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
&lt;br /&gt;
adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. I suggest to change the &amp;quot;becomes&amp;quot; into &amp;quot;has become&amp;quot;, because the time mark here is recent years. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:06, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
&lt;br /&gt;
===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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[[Correction:]]''Ne Zha'' has received great reputation in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory so as to find its inadequacies. There are several versions of subtitle translation of Ne Zha, and the following analysis of subtitle translation is based on the American version.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
[[Correction:]]In this sense,It will be a preferable choice that translating“天劫咒”into “a curse of lightning stroke”,which can make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Maybe it is better to change&amp;quot;cultural exchange&amp;quot; into&amp;quot;culture communication&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:14, 14 December 2021 (UTC)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
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The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
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The revised translation is rhyming ——The revised translation is rhythmic--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:18, 14 December 2021 (UTC)&lt;br /&gt;
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Example 4:&lt;br /&gt;
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若命运不公，就和它斗到底。&lt;br /&gt;
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译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
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Example 5:&lt;br /&gt;
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人心中的成见像一座大山&lt;br /&gt;
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译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
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Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
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====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
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=====Omission=====&lt;br /&gt;
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Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 6:&lt;br /&gt;
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去你个鸟命！&lt;br /&gt;
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译文：Forget your fate!&lt;br /&gt;
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In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
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=====Addition=====&lt;br /&gt;
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As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 7:&lt;br /&gt;
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都尽力了。&lt;br /&gt;
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译：They did all their best.&lt;br /&gt;
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Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
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Example 8:&lt;br /&gt;
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他都是个死。&lt;br /&gt;
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译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
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In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
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All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
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[[Correction:]]As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, it will set a still higher demand on the requirement of accuracy in subtitle translation.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:34, 13 December 2021 (UTC) &lt;br /&gt;
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Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
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High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
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Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
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Christiane Nord. Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
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Cristiane Nord. Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
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Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
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Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程A Coursebook on English-Chinese Translation[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
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Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
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Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
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Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
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Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<summary type="html">&lt;p&gt;Liu Shengnan: /* The Director and the Film */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
As Chinese film and TV industry are booming. Here we should use &amp;quot; are&amp;quot; to show the plural form. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:58, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies&lt;br /&gt;
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==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
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关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
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==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
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===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
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Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
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===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
&lt;br /&gt;
===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
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Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
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===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
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Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
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With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
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adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. I suggest to change the &amp;quot;becomes&amp;quot; into &amp;quot;has become&amp;quot;, because the time mark here is recent years. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:06, 14 December 2021 (UTC)&lt;br /&gt;
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==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]]''Ne Zha'' has received great reputation in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory so as to find its inadequacies. There are several versions of subtitle translation of Ne Zha, and the following analysis of subtitle translation is based on the American version.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]]The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, a flexible and simple title translation is also necessary, as it makes it easy for the audience to remember the plot of the film and to tell others about it.Therefore, a proper film title translation attaches great importance to to convincing the audience that the film is worth watching.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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[[Correction:]]This Chinese animation tells the story of Nezha, who is cursed at birth and treated unfairly from an early age, but eventually gains the approval of the villagers of Chen Tang by fighting against prejudice. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
&lt;br /&gt;
In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
[[Correction:]]In this sense,It will be a preferable choice that translating“天劫咒”into “a curse of lightning stroke”,which can make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
Maybe it is better to change&amp;quot;cultural exchange&amp;quot; into&amp;quot;culture communication&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:14, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
我用乾坤圈才压制住他的魔性。&lt;br /&gt;
&lt;br /&gt;
译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
&lt;br /&gt;
The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
&lt;br /&gt;
“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
&lt;br /&gt;
Example 3: &lt;br /&gt;
&lt;br /&gt;
我是小妖怪&lt;br /&gt;
&lt;br /&gt;
逍遥又自在&lt;br /&gt;
&lt;br /&gt;
杀人不眨眼&lt;br /&gt;
&lt;br /&gt;
吃人不放盐&lt;br /&gt;
&lt;br /&gt;
一口七八个&lt;br /&gt;
&lt;br /&gt;
肚皮要撑破&lt;br /&gt;
&lt;br /&gt;
译：&lt;br /&gt;
&lt;br /&gt;
I am a scary demon&lt;br /&gt;
&lt;br /&gt;
Better run and hide&lt;br /&gt;
&lt;br /&gt;
Legend says I’ll eat and eat&lt;br /&gt;
&lt;br /&gt;
Until everyone has died&lt;br /&gt;
&lt;br /&gt;
And they’re right&lt;br /&gt;
&lt;br /&gt;
You should steer clear&lt;br /&gt;
&lt;br /&gt;
Best take their suggestion&lt;br /&gt;
&lt;br /&gt;
The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
  &lt;br /&gt;
The revised translation is rhyming ——The revised translation is rhythmic--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:18, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
若命运不公，就和它斗到底。&lt;br /&gt;
&lt;br /&gt;
译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
人心中的成见像一座大山&lt;br /&gt;
&lt;br /&gt;
译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
&lt;br /&gt;
Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
&lt;br /&gt;
====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
&lt;br /&gt;
=====Omission=====&lt;br /&gt;
&lt;br /&gt;
Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
去你个鸟命！&lt;br /&gt;
&lt;br /&gt;
译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]]As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, it will set a still higher demand on the requirement of accuracy in subtitle translation.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:34, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
&lt;br /&gt;
Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
&lt;br /&gt;
Christiane Nord. Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
&lt;br /&gt;
Cristiane Nord. Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
&lt;br /&gt;
Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
&lt;br /&gt;
Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
&lt;br /&gt;
Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
&lt;br /&gt;
Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
&lt;br /&gt;
Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
&lt;br /&gt;
Liu Shuneng 连淑能，英译汉教程A Coursebook on English-Chinese Translation[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
&lt;br /&gt;
Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
&lt;br /&gt;
Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
&lt;br /&gt;
Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
&lt;br /&gt;
Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<updated>2021-12-16T03:02:32Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Abstract */&lt;/p&gt;
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&lt;div&gt;=A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory=&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
In recent years, domestic animated films have witnessed a rise, exemplified by hits like ''Monkey King: Hero is Back'', ''Big Fish &amp;amp; Begonia'' and ''White Snake''. As Chinese film and TV industry is booming, increasing excellent animation films have been spread abroad and ''Ne Zha'' is one of the representatives.With films gradually becoming a notable channel of cultural intercommunication, the function of subtitles is particularly of great importance, not only to help the audience understand the content of the story, but also to convey the cultural output. &lt;br /&gt;
&lt;br /&gt;
As Chinese film and TV industry are booming. Here we should use &amp;quot; are&amp;quot; to show the plural form. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:58, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
However, literary translation has occupied center stage in the translation field for long, and yet the history of film and television translation is less than one hundred years. As a result, films and television translation has not received due attention from professional translation talents and not been researched thoroughly.Taking ''Ne Zha'' as an example, this paper is designed to explore the subtitle translation of domestic animated films from the perspective of Skopos theory. Through the study of subtitle translation of domestic animated films, this paper advocates that the purpose of subtitle translation should be fully taken into consideration, and calls for the attention of scholars on the quality of domestic animated film translation for the best viewing effect and cultural communication.&lt;br /&gt;
&lt;br /&gt;
Key words: Skopos theory, ''Ne Zha'', subtitle translation, translation strategies&lt;br /&gt;
&lt;br /&gt;
==摘    要==&lt;br /&gt;
近些年来，从《西游记：大圣归来》到《大鱼海棠》再到《白蛇：缘起》，国产动画电影渐受欢迎。由于中国影视行业日益繁荣，越来越多的优质动画电影传播海外，《哪吒之魔童降世》就是其中的典型代表之一。由于电影逐渐地成为文化传播的重要渠道，字幕的功能就显得尤为重要，不仅要帮助观众理解所讲的故事内容，还要将其中的文化输出传达出来。但是影视作品翻译的历史不足百年，且文学翻译长期处于翻译界的主导地位，使得影视翻译没有得到专业翻译人士足够的关注和研究。本文以翻译目的论为指导，以电影《哪吒之魔童降世》为例，旨在探讨目的论视角下国产动画电影的字幕翻译。通过对国漫电影字幕的翻译研究，倡导在字幕翻译过程中充分考虑翻译目的，以期让更多翻译人士关注和研究影视字幕翻译，同时提高国产动画电影的翻译质量，最终达到最佳的观影效果和文化传播交流的目的。&lt;br /&gt;
&lt;br /&gt;
关键词：翻译目的论；《哪吒之魔童降世》；字幕翻译；翻译策略及方法&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
Over the past decade, China’s film industry has made unprecedented progress, leaping to the second largest film market in the world with the largest number of screens and an annual output of about 1000.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
In 2019, there was a great breakthrough in the production and box office of domestic animated films winning a good reputation around the world. The film, ''Ne Zha'', especially, broke the dominance of American, Japanese and other countries’ animated films on the domestic screen and gave great confidence to domestic ones.Since its release, the box office of ''Ne Zha'' has exceeded 5 billion yuan in China, ranking third in the total box office of Chinese film history. Subsequently, the film was released in North America, Australia, New Zealand and other countries.The highest-grossing animated film ever in China hit cinemas in North America on August 29, 2019. However, according to the box office statistics website, as of September 15, 2019, the North American box office of ''Ne Zha'' was less than 3 million dollars, about 1/250 of the box office in China.&lt;br /&gt;
&lt;br /&gt;
Although there is no doubt that ''Ne Zha'' has earned rave reviews in China, there is still much room for its popularity overseas. The main causation is that most of the laughing points in the film spring from Chinese traditional culture. That is to say, clashes of cultures make them impalpable for foreign audiences. In respect of film content transmission, subtitle translation paves the way for the understanding of alien cultures, realizes cultural exchange between China and foreign countries and gives full play to the film’s greatest commercial value. It is hoped that this paper is able to provide some reflections and implications for further exploration of subtitle translation.(Development Research Center of State Administration of Radio and Television,2021:95-99)&lt;br /&gt;
&lt;br /&gt;
===The Director and the Film ===&lt;br /&gt;
Jokalate Yang Yu, was a medical student when he made up his mind to engage in animation production.At first, it was hard for him to convince people around him that he could make a living by producing animation. However, thanks to his mother’s support, he overcame many difficulties and obstacles, and his career got bright when his short-animated film, ''See Through'', gained considerable fame at home and abroad. Whereafter, Yu, spent two years in perfecting the script of ''Ne Zha'' and three years in putting it into practice. He created a story touching on issues such as loneliness, prejudice, and family love. In the past animations, Ne Zha resisted patriarchy and feudal autocracy, but what he fought against in this film was prejudice, which subverted his original image setting. &lt;br /&gt;
&lt;br /&gt;
This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands. Ne Zha is full of personality on the surface, but he is quite lonely inside and eager to be accepted by villagers in Chentang. The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.(Development Research Center of State Administration of Radio and Television,2021:100-105)&lt;br /&gt;
&lt;br /&gt;
[[Correction:]]This film tells the story of Ne Zha as the reincarnation of a devil who believes that his fate is in his own hands.On the surface,Ne Zha is full of personality, but he is quite lonely inside and eager to be accepted by villagers in Chentang. (This part you can add more details about this film and Ne Zha,besides, some linking terms and film contents are necessary for the smooth understanding and the logic of text.)The reason why this film can arouse the resonance of audience is that the majority have experienced prejudice.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:55, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
Since the film was released in the last two years, little research on its content itself appeared at home and abroad, but domestic and foreign scholars have a more in-depth study on subtitle translation.&lt;br /&gt;
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===Studies Overseas===&lt;br /&gt;
''Dictionary of Translation Studies'' depicts that subtitle translation is a kind of language transformation including “intralingual subtitle translation” and “interlingual subtitle translation”, which provides explanations for the dialogues between the characters in films and TV works. (Mark Shuttleworth＆Moria, Cowie, 1997:56)&lt;br /&gt;
 &lt;br /&gt;
Oversea investigations into subtitle translation roughly began in 1960s. The article “Translation et Cinema” and “Cinema et Translation” can be regarded as the earliest film translation theory research in Europe. In 1974, Dollerup analyzed the problems and errors in translating English into Danish and also pointed out the importance of subtitle translation in foreign language learning. In 1982, Christophoer Titford entered the concept of “Constrained Translation” for the first time.(Fang Han,2019:14) Later, the term was applied to translation practice of subtitles by researchers and exerted a profound influence on the later development of film subtitle translation.Since 1990, the study of audio-visual translation in the West moved into high gear. Considerable theories were put forward by western scholars including Yves Gambier, Henrik Gottlieb, Jan Ivarsson and so on, and the theories of subtitle translation made great strides.In 1991, Luken with four collaborators from different European countries, analyzed the dissimilar translation modes in film and television works from a professional point of view. In 1992, Ivarsson introduced the technical level and the development of subtitle translation in detail. In 2001, Gambier and Gottlieb, the leading figures in the film translation field, published a book named ''Media Translation: Concepts, Practices and Research'' where a lot of research papers on film and television translation were collected. In 2003, Gambier was invited to translate the journal ''Translator'' by the publishing house of Saint Jerome of Manchester of England, in which he edited and published a special issue of film and television translation studies.&lt;br /&gt;
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Broadly speaking, in the past few decades, western scholars have made a comprehensive study related to subtitle translation in film and television works. In terms of theory, foreign studies in this realm range over almost all aspects, such as subtitle strategy, subtitle quality control, subtitle translation standardization and so on,but foreign studies lack the analysis of specific cases to point out what can be improved in subtitle translation.(Ge Nan,2013:23)&lt;br /&gt;
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===Studies in China===&lt;br /&gt;
Domestic researches on subtitle translation of film and television works started later than that of western countries, and its development was not fully mature. After 1921, a mass of sound films entered the Chinese market, and subtitle translation came into being by degrees. Cheng Shuren, a returnee from America, was the first to bring the formal professional knowledge of foreign films and practical experience in film production process back to China, which played an irreplaceable role in the development of early Chinese films. In the spring of 1923, Cheng learned from the experience of the United States and set a precedent for putting Chinese subtitles on foreign films.After the reform and opening up, subtitle translation was gradually showing a booming trend with a large number of foreign film and television works flooding into China. However, there were also lots of problems in subtitle translation, such as inaccurate translation, incorrect spelling etc. In the meantime, a growing number of experts and scholars paid attention to the subtitle translation studies, such as Zhao Huayong, Ma Zhengqi, Gu Tiejun, Qian Shaochang, Li Yunxing and so on. (Li Jie,2008,232-233)&lt;br /&gt;
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Domestic scholars amassed rich experience in translation practice, encapsulated the characteristics, tenets and techniques of film and television translation, and published quite a few works. ''The Approach &amp;amp; Research of Foreign Film Dudding'' written by Zhao Huayong came out in 2000, showing the theoretical results of translated films. Ma Zhengqi comprehensively and deeply discussed the essential attributes and basic theories of translated films in his work, ''Scenario Translation &amp;amp; Dubbing''. Gu Tiejun’s New Scenarios Translation and Review published in 2006, elaborated the necessity of film translation and the evaluation of translated films. In addition, many papers gradually appeared. Qian Shaochang published an essay in 2000, known as “Audiovisual Translation-An Increasingly Important Fields in Translation”, summarizing the five characteristics of language in film and television works. In 2001, Li Yunxing wrote “Strategies of Subtitle Translation”, putting forward the corresponding translation strategies according to the characteristics of subtitle translation. Subtitle translation is a field that hasn’t been thoroughly studied in China and its quality is unsatisfactory. There are two main points accounting for it: the first one is that not enough systematic theories and rules can guide the practice of subtitle translation; second, there are some obstacles in subtitle translation such as language problems, technique difficulties, cultural vacancy, etc. Comparatively speaking, the domestic studies on subtitle translation, unaccompanied by sufficient and systematic theoretical support, are mainly based on practical experience of subtitle translation, and the summary of the problems encountered in translation.(Fang Han,2019:15-17) &lt;br /&gt;
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With the continuous introduction and improvement of various translation theories, adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. By marshaling the thesis and articles that bear on subtitle translation, it can be found that a large number of previous studies at home have analyzed the E-C subtitle translation of film and television works under Skopos theory, but few scholars research excellent domestic animated films in C-E subtitle translation, which hinders the domestic animations from going global. In view of this phenomenon, the main objective of this paper is to fill the gap of lacking analysis of C-E subtitle translation about Chinese animations, come up with some helpful suggestions and explore some novel thoughts for guiding subtitle translation of Chinese animation.&lt;br /&gt;
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adopting translation theories to analyze subtitle translation becomes an upsurge in the recent years. I suggest to change the &amp;quot;becomes&amp;quot; into &amp;quot;has become&amp;quot;, because the time mark here is recent years. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:06, 14 December 2021 (UTC)&lt;br /&gt;
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==Theoretical Review==&lt;br /&gt;
Skopos theory of functionalism was born in Germany in the 1970s. For half a century, its theoretical leverage has been stretching out all over the world. The advent of functionalist Skopos theory destabilized the idea that source text is all-important, attached importance to the function of translation, emphasized the purpose of translation, and expanded the scope of translation studies, which aroused strong repercussions in translation circles.&lt;br /&gt;
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===The Development of Skopos Theory===&lt;br /&gt;
The formation of functionalist Skopos theory went through four stages: Katharina Reiss’s Text Typology, Hans J. Vermeer’ s Skopostheorie, Justa Holz-Mänttäri’ s Theory of Translation Action and Christiane Nord’s Function plus Loyalty. (Li Jie,2008:232-233)&lt;br /&gt;
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''Translation Criticism: The Potential and Limitations'' published by Katharina Reiss in 1971 was regarded as the opening work of German functional translation theory. The book put forward the inchoate ideas of the translation theory school. In her early theoretical studies, Reiss believed that the equivalence pursued by translation should be at the discourse level, not in words and sentences. Inspired by her translation practice, Reiss realized that it was impossible to achieve real equivalence in translation communication and even in some cases, equivalence was not the desired effect, so she pointed out that it was necessary to give priority to the functional characteristics rather than the principle of equivalence. In addition, she also divided the text into four types, namely, informative, expressive, operative and audio-medial texts, and put forward the view of Text Typology which means the translator analyzes the text from the perspective of pragmatics and enables to interpret the translation. Reiss’s view disentangled translation patterns from the traditional mode of static language analysis, representing a great ascent to translation theories and laying the foundation for Skopos theory.&lt;br /&gt;
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In 1984, Hans J. Vermeer, the student of Katharina Reiss, put forward Skopostheorie in ''Groundwork for a General Theory of Translation''. And then in 1989, his paper ''Skopos and Commission in Translational Action'' gave a general description of Skopostheorie that any form of translation action, including translation itself, has its aim(Vermeer, 1989:221-232).According to Vermeer’s Skopostheorie, a text can have many different texts according to different purposes, and translation was defined as intercultural communication in a certain cultural context.Then, Justa Holz-Mänttäri advanced the Theory of Translational Action from the perspective of communication and behavior. On the basis of Vermeer’s Skopostheorie, Holz-Mänttäri embraced the idea that the social and cultural factors such as clients’ identities influenced the translation process. What’s more, he emphasized the choice of translators and the situation of target readers, which rid the study of translation theory of the limitations of the text itself.On the basis of the previous theoretical achievements, Christiane Nord enlisted a model for analyzing source language texts, which can be applied to all text types and translation processes. In his masterpiece,''Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis'' , Nord expounded the theoretical basis of translation text analysis mode, explained the role and function of source text analysis in translation, then focused on the analysis of the basic elements of source text analysis, and finally discussed the application of text analysis mode with examples. In addition, the idea of “function plus loyalty” was proposed for the first time in this book, which Nord’s version of the functionalist approach stood. (Bian Jianhua,2006,44-46)&lt;br /&gt;
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The combination of these two principles is the most important, even if in some cases they seem to contradict each other. Function refers to the factors that make target text work in the intended way in the target situation. Loyalty refers to the interpersonal relationship among the translator, the source-text sender, the target-text addressees and the initiator. Loyalty limits the range of justifiable target-text functions for one particular source text and raises the need for a negotiation of the translation assignment between translators and their clients. (Nord,2006:75-76)&lt;br /&gt;
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Nord absorbed the essence of previous functionalists and established his own translation text analysis mode. At this point, Skopos theory has been mature, which has broken through the long-standing popularity of translation equivalence.&lt;br /&gt;
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===Three Rules of Skopos Theory===&lt;br /&gt;
As the pivot of functional school, Skopos theory is a groundbreaking mode of translation, which embodies three rules with Skopos rule at its core. “Skopos” is a word of Greek derivation meaning “aim” or “purpose”. Nord claimed that “Inter-textural coherence is subordinate to intra-textual coherence, and both of them are subordinate to the Skopos rule. If the Skopos requires a change of function, the standard will no longer be inter-textual coherence with the source text but adequacy or appropriateness with regard to the Skopos, and if the Skopos demands intra-textual incoherence (as in the theatre of the absurd), the standard of intra-textual coherence in no longer valid”. (Nord,2001:16-21)&lt;br /&gt;
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====Skopos Rule====&lt;br /&gt;
Skopos rule means that a translation action is determined by its purpose. Vermeer points out that translation is a kind of purposeful behavior and explains the Skopos rule as following:  &lt;br /&gt;
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Each text is produced on a given purpose and should serve this purpose (Chen Jing, 2016:89-90). According to this rule, the function of the translated texts determines the translation approach and strategy. The Skopos rule thus reads as follows: translate/ interpret /speak/ write in a way that enables your text/ translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. (Nord,2001:29-30)&lt;br /&gt;
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This rule is helpful for solving the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators.  Under the direction of Skopos rule, translators can adopt corresponding translation strategies and techniques to flexibly address the differences between the target text and the original text, so as to facilitate the understanding of the target readers. In other words, adopting any method or strategy depends on the purpose of translation so that the status of translators has been greatly improved.&lt;br /&gt;
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====Coherence Rule====&lt;br /&gt;
The coherence rule, also called intra-textual coherence, means the translator should make the translation semantically coherent in the process of information transform. In other words, the translation must be logical, clear, fluent, readable and acceptable, so as to facilitate the understanding of the recipients.&lt;br /&gt;
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Coherence rule specifies that a translation can be acceptable under the circumstance where it has a sense of oneness with the receivers’ situation and being coherent with is synonymous with being part of the receiver’s situation. Before translation practice, the translator should make allowances for cultural differences and try to eliminate these barriers, so as to correctly output the original author’s central ideas to the target language receivers, which adjures the translator to observe the coherence rule.(Bian Jianhua,2006:44-46)&lt;br /&gt;
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====Fidelity Rule====&lt;br /&gt;
Fidelity rule, also known as “Inter-textual Coherence”, is another principle to represent the relation between the source text and the target text, which emphasizes a faithful rendering of the original text. More specifically, fidelity rule states the following elements of the coherence:(1) the source text information received by the translator;(2) the interpretation the translator makes of this information;(3) the information that is encoded for the target text receivers. (Xue Fei,2018:37)&lt;br /&gt;
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The fidelity rule is a follow-up to the Skopos rule. In this rule, the extent and form of constancy is subject to the translator’s understanding of the original text. Therefore, in the subtitle translation guided by fidelity rule, the original intention, emotion and tone of the speaker should be conveyed to the target audience as much as possible, so as to maintain the consistency of language features. &lt;br /&gt;
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==Evaluation on Subtitle Translation of Ne Zha under Skopos Theory==&lt;br /&gt;
''Ne Zha'' has received a lot of praise in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory in order to find its inadequacies. There are several versions of subtitle translation of Ne Zha while the following analysis of subtitle translation is based on the American version.&lt;br /&gt;
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[[Correction:]]''Ne Zha'' has received great reputation in China, but underperformed in the overseas market, which is closely related to its subtitle translation. Due to the limitation of traditional cultural themes, there are a large number of culturally-loaded terms in Chinese films and television works, which brings challenges to subtitle translators. Therefore, it’s of great necessity to analyze the subtitle translation under the Skopos theory so as to find its inadequacies. There are several versions of subtitle translation of Ne Zha, and the following analysis of subtitle translation is based on the American version.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
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===The Title Translation of Ne Zha===&lt;br /&gt;
The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, flexible and simple title translation is also necessary for the reason that it can make the audience easily remember the plot of the film and to tell others about the film. Therefore, a good film title translation attaches great importance to making the audience believe that the film is worthy of watching.&lt;br /&gt;
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[[Correction:]]The title of a film is an important criterion for audience to know the content, judge the theme and then choose whether to watch it or not. Of course, a flexible and simple title translation is also necessary, as it makes it easy for the audience to remember the plot of the film and to tell others about it.Therefore, a proper film title translation attaches great importance to to convincing the audience that the film is worth watching.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
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This Chinese animation related that Ne Zha was born with a cursed fate, got a raw deal, fought against bias and finally got approval of Chentang villagers. &lt;br /&gt;
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[[Correction:]]This Chinese animation tells the story of Nezha, who is cursed at birth and treated unfairly from an early age, but eventually gains the approval of the villagers of Chen Tang by fighting against prejudice. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:30, 13 December 2021 (UTC)&lt;br /&gt;
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The full title of the film is“哪吒之魔童降世”，but it is straightly translated into “Ne Zha”. Although “Ne Zha” is terse, the subheading is ignored, which doesn’t convey the main content and doesn’t have enough appeal for the audience. In fact, the name “哪吒”has profound meaning: “哪” is a compound noun in ancient Chinese. According to the ''Ci Hai'', “哪”refers to “傩”, which originally means to drive away evil and disease; what “吒”drives at is justice, symbolizing indignation; “哪”and“吒”together means to expel evil spirits, demons and monsters invincibly.  In the title translation of this film,“哪吒”is transliterated into “Ne Zha” . However, from the viewpoint of the western audience,“哪吒”is just the name of a character as they cannot understand the cultural connotation contained in it.(Xia Zhengnong &amp;amp; Chen Zhili,2009,2106)&lt;br /&gt;
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In conclusion, the translation of the title cannot achieve complete conveyance of the meaning of source language. Grounded on the fidelity rule of Skopos theory, if “哪吒之魔童降世”is rendered as “Ne Zha: I am the Destiny”, it’s more faithful to the original language and more attractive for audience from other countries.&lt;br /&gt;
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===Subtitle Translation Methods and Techniques of Ne Zha===&lt;br /&gt;
In the sight of Xiong Bin, Translation strategies can be divided into two categories: domestication and foreignization, and each strategy contains some translation methods. (Xiong Bing,2014:82-88)&lt;br /&gt;
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Skopos theory, with its three rules, is such a general guideline that a variety of translation strategies, translation methods and translation techniques need to be involved in translation practice. Examples are listed in the following section to illustrate the employment of these methods and techniques in different context.&lt;br /&gt;
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====Translation Methods under Foreignization====&lt;br /&gt;
Foreignization means that the form of the original text should not be altered as much as possible in the process of translation. It requires that the differences between languages and cultures be preserved in translation, so as to give readers a sense of exoticism, which enables to promote cultural exchanges and strengthen readers’ understanding of foreign culture.&lt;br /&gt;
Translation methods under foreignization include zero translation, transliteration, word-for-word translation and literal translation. In this film, some translation methods under foreignization are used in the following examples.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation, is the most frequently used translation method in translating. Lian Shuneng, a famous scholar in China, defines literal translation as “ideally the segmentation of the source language text into individual words and target language rendering of those word segments one at a time” in his masterpiece A Coursebook on English-Chinese Translation.  During translation, literal translation is a good choice if the peculiarities of source language don’t affect the target readers’ understanding of the original text.&lt;br /&gt;
Example 1: &lt;br /&gt;
我施了天劫咒。&lt;br /&gt;
译：I have cast a heaven-made curse.&lt;br /&gt;
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In Chinese culture,“天劫”is a punishment or disaster given by God.“天劫咒”is verbatim translated into “a heaven-made curse”. In language conversion, there is a cultural inequality for the reason that “heaven” in western culture is quite different from“天”in Chinese religion.“天”is the embodiment of morality and the noumenon of Tao, which can dominate the whole world. As a western audience who doesn’t understand Chinese religion, it is difficult to understand its cultural connotation. “天劫”in the film refers to“天雷”which is a kind of severe punishment from God. Based on the Skopos rule, it’s better to use the strategy of free translation so as to make the translation more comprehensible. Translating“天劫咒”into “a curse of lightning stroke” make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
[[Correction:]]In this sense,It will be a preferable choice that translating“天劫咒”into “a curse of lightning stroke”,which can make the western audience jump out of the literal bondage and better understand the characters’ fear.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Transliteration is usually served as a panacea for translating proper nouns such as people, places, institutions etc., to keep the source language’s cultural heterogeneity from being assimilated. Thereby the target language readers can appreciate its culture.  It is not advisable to use transliteration excessively in translation because transliteration reduces the readability of the translation and affects the spread of the translation in the target culture, so this kind of translation method should be used reasonably for better cultural exchange. A representative example is Qiankun Hoop in the film of ''Ne Zha''.(Xiong Bing,2014:82-88)&lt;br /&gt;
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Maybe it is better to change&amp;quot;cultural exchange&amp;quot; into&amp;quot;culture communication&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:14, 14 December 2021 (UTC)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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我用乾坤圈才压制住他的魔性。&lt;br /&gt;
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译：I have to use the Qiankun Hoop to suppress his demonic nature.&lt;br /&gt;
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The prototype of “乾坤圈” is a Chinese Taoist tool.“乾坤”, so-call “heaven and earth”, is a famous Taoist cultural term. In the Eight Trigrams, “乾坤” are all inclusive, representing the power of Yin and Yang and the source of all things.&lt;br /&gt;
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“乾坤”is rich in oriental characteristics, and there is no equivalent word in Western culture. “乾坤” is directly transliterated into “Qiankun” in the lines. The translation process is simplified so that unnecessary ambiguity and semantic confusion are avoided. Nonetheless, there is still a lack of cultural connotation in the process of translation: the western audience is still confused about the meaning of “Qiankun”, and the information that the audience can receive is that “乾坤圈” is only a circle, which does not fully achieve the expected effect of translation.“乾坤圈”can translate as “Heaven and Earth Hoop”. “Heaven and Earth” interprets what “乾坤”means, which is easier to understand for overseas audience and accords with the coherence rule.&lt;br /&gt;
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====Translation Methods under Domestication====&lt;br /&gt;
Domestication refers to localizing the source language and adopting the way of expression used by the target language readers to convey the content of the original text.Translation methods under domestication are comprised of literal translation, imitation, variation translation and recreation. In this film, examples are listed to illustrate the employment of some translation methods under domestication.(Xiong Bing,2014:82-88)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation means various grammatical constructions can be utilized with a view to expressing the same meaning on the basis of understanding the original text. As is known to all, in many translation practices, only using the coherence rule cannot express the meaning of the original text inasmuch as each language embraces its own exclusive vocabulary, syntactic structures and collocations. So, the translator can make appropriate adjustments to the original text. The following sentences are good examples of using free translation techniques. (Lian Shuneng,2006:12)&lt;br /&gt;
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Example 3: &lt;br /&gt;
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我是小妖怪&lt;br /&gt;
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逍遥又自在&lt;br /&gt;
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杀人不眨眼&lt;br /&gt;
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吃人不放盐&lt;br /&gt;
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一口七八个&lt;br /&gt;
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肚皮要撑破&lt;br /&gt;
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译：&lt;br /&gt;
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I am a scary demon&lt;br /&gt;
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Better run and hide&lt;br /&gt;
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Legend says I’ll eat and eat&lt;br /&gt;
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Until everyone has died&lt;br /&gt;
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And they’re right&lt;br /&gt;
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You should steer clear&lt;br /&gt;
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Best take their suggestion&lt;br /&gt;
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The genre of the poem is doggerel, usually used for self-modesty or self-mockery due to its vulgarity and humor. By reason of being rejected and reviled by the people of Chentang and caged at home, Ne Zha makes some doggerel of self-mockery from time to time. Adopting free translation, the translation has a flavor of nursery rhyme but lacks a sense of humor. From the viewpoint of Skopos rule, using literal translation is a better choice. Thus, the doggerel can be translated into “Little devil as I am/living freely without giving a damn/I kill without blinking/And eat people without salting /After a mouthful of eight/My stomach is stuffed to the throat.” The revised translation is rhyming and basically achieves the expressive effect of the source language.&lt;br /&gt;
  &lt;br /&gt;
The revised translation is rhyming ——The revised translation is rhythmic--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:18, 14 December 2021 (UTC)&lt;br /&gt;
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Example 4:&lt;br /&gt;
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若命运不公，就和它斗到底。&lt;br /&gt;
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译：If the destiny is unfair, then I am the destiny.&lt;br /&gt;
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Example 5:&lt;br /&gt;
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人心中的成见像一座大山&lt;br /&gt;
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译：They could construct an entire mountain with their prejudice.&lt;br /&gt;
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Under the direction of Skopos theory, it is fairer to take literal translation as for the two sentences above. In example 4,“就和它斗到底”is uttered by Ne Zha with a vehement feeling, but the tone of the translation is relatively placid. Accordingly, an imperative sentence can be used to voice the passion and the better version is “fight it till the end”, which ensures the fidelity of the translation to the original text. In example 5, a subject is added in the target text, which doesn’t cohere with the context. If“人心中的成见像一座大山”is translated into “Humans’ prejudice is a mountain” with the use of metaphor, the line can be perfectly comprehended.&lt;br /&gt;
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====Translation Techniques====&lt;br /&gt;
Addition, omission, division, combination and shift constitute translation techniques which need to be involved in the process of translation. In the film, each following example used a specific technique is as follows.&lt;br /&gt;
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=====Omission=====&lt;br /&gt;
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Omission, a translation technique corresponding to addition, appertains to expurgating the words that don’t conform to idiomatic English, so as to avoid the redundant translation. This translation technique is used to achieve simplification without deleting the important ideas of the original text.(Xiong Bing,2014,82-88)&lt;br /&gt;
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Example 6:&lt;br /&gt;
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去你个鸟命！&lt;br /&gt;
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译文：Forget your fate!&lt;br /&gt;
&lt;br /&gt;
In the Chinese context,“去……鸟”is an obscenity while the dirty meaning is gone in the translated version. Ne Zha originally expresses “I am the master of my own destiny” and he wants to change his own destiny, showing his spirit of disobedience. But the translation, &amp;quot;forget your fate”, is far less imposing than the source language and isn’t express the character’s anger and reluctance. Moreover, from the perspective of Skopos theory, the translation of the target language isn’t faithful to the emotions of the source language, and the western audience may feel that Ne Zha’s emotional outburst is illogical. “Fucking” is a swear word that is used by western people to express anger. If “去你个鸟命”is translated into “Forget your fucking fate”, it’s much easier for foreign audience to experience the emotions in the film and resonate with Ne Zha. According to the fidelity rule, the revised version is more in line with the language expression habits of the audience, making for a better viewing effect.&lt;br /&gt;
&lt;br /&gt;
=====Addition=====&lt;br /&gt;
&lt;br /&gt;
As syntactical and structural discrepancies between Chinese and English exist, translators are normally supposed to add some necessary words, phrases or sentences during translating in order that readers can accurately receive the meaning contained in the original text. There are two examples in the film.(Xiong Bing,2014,82-88)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
都尽力了。&lt;br /&gt;
&lt;br /&gt;
译：They did all their best.&lt;br /&gt;
&lt;br /&gt;
Example 7 is a Chinese sentence without subject. It is a kind of common and prime sentence pattern and a unique language phenomenon in Chinese language. When“都尽力了”are translated，the translator adds the logical subject to the translation, so as to accord with English expressive habits. Nevertheless, “they”, the added subject, is out of context for the reason that the speaker of“都尽力了”is Ne Zha’s mother. On the basis of the fidelity rule, translating“都尽力了”into “we all tried our best” is closer to the original.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
他都是个死。&lt;br /&gt;
&lt;br /&gt;
译：He’s going to die when the lightning bolt strikes him.&lt;br /&gt;
&lt;br /&gt;
In the example above, even though the adverbial clause of time is added to convey more information, the translation of “他都是个死”is not exactly accurate. First of all,“个”in the original text indicates that the sentence is informal and colloquial, but the translation is the written word. Secondly, the tone of the original text is not apparent. Under the guidance of fidelity rule, “going” can be modified to “gonna” which is used in informal speech and “whatever” should be added at the end of the sentence to strengthen the speaker’s mood. In this way, the translation will be more faithful to the original text, and the audience will experience the emotions in the film vividly.&lt;br /&gt;
&lt;br /&gt;
All in all, ''Ne Zha'' adopts various translation strategies in order to make the target audience understand the cultural elements，but some parts of subtitle translation in this film are a little disappointing from the perspective of Skopos theory. As translation is by no means a straightforward job, the successful subtitle translation must take lots of painstaking efforts. Only the proper subtitle translation can show the target audience a good watching experience and helps the film to succeed.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, the requirement of accuracy in subtitle translation is relatively high.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]]As a special modality of language conversion, subtitle translation is affected by time, space, and the limitation of media. Because of the strong cultural characteristics of domestic animated films, it will set a still higher demand on the requirement of accuracy in subtitle translation.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:34, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Since functionalist Skopos theory was introduced to China in 1987, it has been popularly studied and applied in Chinese translation field. Based on the analysis of the subtitles of ''Ne Zha'', this paper systematically studies the application of Skopos theory in subtitle translation. Firstly, the research background and significance are introduced so as to make readers have a basic understanding of the objectives of the paper. Secondly, subtitle translation development at home and abroad is written for analyzing subtitle translation in a later section. After that, the theoretical basis of the study is introduced to show readers the details of Skopos theory. In accordance with Skopos theory, any process pertaining to translation is determined by its specific purpose. Finally, some examples are analyzed in the viewpoint of Skopos theory in order to identify the gap between the original and the translation and try to give a better version.It is an undeniable fact that some limitations are present in this paper. First of all, the analysis of Skopos theory is partly based on personal understanding, and scholars may hold other perspectives. Of course, there might be other more typical examples and the strategies and techniques applied in the cases are in need of further polish. It’s hoped that this paper can give a little enlightenment for translators.(Chen Jing,2016:89-90)&lt;br /&gt;
&lt;br /&gt;
High quality subtitle translation is the finishing touch of a film. It can not only effectively convey the content of the animation, but also reflect the flavor of the language, so as to feel exotic cultures. As commented earlier, the application of Skopos theory and subtitle translation knowledge to analyze the classic lines with Chinese traditional cultural charm in movies is of guiding significance for strengthening the communication between Chinese and English cultures and improving the level of subtitle translation of translator.&lt;br /&gt;
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==References==&lt;br /&gt;
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Bian Jianhua卞建华.关于翻译目的论相关问题的讨论——与克里斯蒂安·诺德教授的四次网上交流(英文)[J]Discussion on Translation Skopos Theory -- Four Online Exchanges with Professor Christian Nord (English).中国翻译Chinese Translators Journal,2006,27(01):44-46.&lt;br /&gt;
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Chen Jing陈静.浅析翻译目的论三原则及其在翻译实践中的应用[J]On the Three Principles of Skopos Theory and Its Application in Translation Practice.海外英语Overseas English,2016(17):89-90.&lt;br /&gt;
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Christiane Nord. Text Analysis in Translation: Theory，Methodology, and Didactic Application of a Model for Translation－Oriented Text Analysis[M].北京: 外语教学与研究出版社,2006,75-76．&lt;br /&gt;
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Cristiane Nord. Translation as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001,16-30.&lt;br /&gt;
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Development Research Center of State Administration of Radio and Television 国家广播电视总局发展研究中心.中国广播电视全媒体发展报告（2021）[M] Annual Report on Development of China's Radio and Television All-Media.中国广播影视出版社China Radio, Film and Television Press，2021,95-115.&lt;br /&gt;
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Fang Han方涵.目的论视角下的电影字幕翻译-以《雷霆战海》为例[D] A Practical Report on Sutitle Translation Guided by Skopostheorie: A Case Study of ''The Pacific''.北京邮电大学Beijing University of Posts and Telecommunications,2019,14.&lt;br /&gt;
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Ge Nan 葛南.央视栏目《走遍中国》字幕翻译中文化空缺的补偿研究[D] Cultural Vacancy and Compensation Strategies in  Subtitle Translation of CCTV -4's &amp;quot;Across China&amp;quot;.长春理工大学Changchun University of Science and Technology,2013,23.&lt;br /&gt;
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Hans J. Vermeer, Skopos and Commission in Translational Action. Trans. Andrew Chesterman. In Lawrence Venuti. (ed). The Translation Studies Reader. New York &amp;amp;London: Routledge, 1989,221-232.&lt;br /&gt;
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Li Jia李洁.论翻译目的论的阶段性发展[J]On the Phased Development of Skopos Theory of Translation.时代经贸(中旬刊)Economic &amp;amp; Trade Update,2008(S4):232-233.&lt;br /&gt;
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Liu Shuneng 连淑能，英译汉教程A Coursebook on English-Chinese Translation[M].北京：高等教育出版社Beijing:Higher Education Press,2006,12.&lt;br /&gt;
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Mark Shuttleworth＆Moria, Cowie. Dictionary of Translation Studies. Manchester: St, Jerome Publishing,1997,56.&lt;br /&gt;
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Xia Zhengnong, Chen Zhinong夏征农,陈至立.辞海[M]Ci Hai.上海：上海辞书出版社Shanghai:Shanghai Lexicographical Publishing House, 2009,2106.&lt;br /&gt;
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Xiong Bing 熊兵.翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]Conceptual Confusion in Translation Studies -- Taking &amp;quot;Translation Strategy&amp;quot;, &amp;quot;Translation Technique&amp;quot; and &amp;quot;Translation Skill&amp;quot; as examples.中国翻译Chinese Translators Journal,2014,35(03):82-88.&lt;br /&gt;
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Xue Fei薛飞.目的论视角下英-汉电影字幕翻译研究[D]A Study of English Chinese Film Subtitle Translation from the Perspective of Skopos Theory.吉林财经大学Jilin University of Finance and Economics,2018,37.&lt;br /&gt;
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Zhao Qi,Lu Qing 赵琦,卢澄.论音译在英汉翻译中的作用[J]On the Role of Transliteration in English Chinese Translation.广西师范学院学报(哲学社会科学版)Journal of Nanning Normal University(Philosophy and Social Sciences Edition),2013,34(01):118-124.&lt;br /&gt;
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Written by—--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:20, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132885</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132885"/>
		<updated>2021-12-14T07:06:59Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Further Reading */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue,Hunan Normal University,China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
&lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
&lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
&lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
&lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
&lt;br /&gt;
According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
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&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
Correction: In this chapter, some of the particular problems that translation task poses for the machine translation system manufacturer and some of the reasons why translation is difficult will be discussed.First of all, it is ambiguity that cause problems to arise from structural and lexical differences between languages, and multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2,lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented or by what rules they are to be described, even in well-studied English, and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction,there is no trivial problem in creating a description that is accurate enough to be used by an automated system.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:50, 14 December 2021 (UTC)&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
&lt;br /&gt;
(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
&lt;br /&gt;
As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
&lt;br /&gt;
(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
&lt;br /&gt;
(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
&lt;br /&gt;
(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
&lt;br /&gt;
(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
&lt;br /&gt;
(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
&lt;br /&gt;
(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
&lt;br /&gt;
(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
&lt;br /&gt;
(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
&lt;br /&gt;
(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
&lt;br /&gt;
(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
&lt;br /&gt;
(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
&lt;br /&gt;
(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
&lt;br /&gt;
(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
&lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Correction:Roughly speaking, idioms are expressions whose meanings can not be absolutely understood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact that ''kick the bucket'' is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in the MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example taking the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical meaning. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:03, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
&lt;br /&gt;
Correction: This bankruptcy seems at a few troubles which face the builder of MT systems. We characterize them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy, we mentions times of lexical and structural mismatches and the trouble of non-compositionality (as exemplified via way of means of idioms and collocations) and check out a few techniques for handling them in MT systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:59, 14 December 2021 (UTC)&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Correcrion:&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇsee for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).A classic discussion of translation problems is Vinay and Darbelnet (1977). This isconcerned with translation problems as faced by humans, rather than machines, but it points out several of the problems mentioned here.The discussion in this chapter touches on two issues of general linguistic and philosophical interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other languages. As regards the first question, it seems as though there are some limits. For example, though languages carve the colour spectrum up rather differently, so there can be rather large differences between colour words in terms of their extensions, there seems to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:06, 14 December 2021 (UTC)&lt;br /&gt;
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=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
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'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
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刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132876</id>
		<title>Translation types, strategies, styles, methods</title>
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		<updated>2021-12-14T07:03:55Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Multiword units: Idioms and Collocations */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
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刘越Liu Yue,Hunan Normal University,China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
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Discussion &lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
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•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
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Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
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•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
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An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
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What is translation? &lt;br /&gt;
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Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
Correction: In this chapter, some of the particular problems that translation task poses for the machine translation system manufacturer and some of the reasons why translation is difficult will be discussed.First of all, it is ambiguity that cause problems to arise from structural and lexical differences between languages, and multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2,lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented or by what rules they are to be described, even in well-studied English, and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction,there is no trivial problem in creating a description that is accurate enough to be used by an automated system.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:50, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
&lt;br /&gt;
(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
&lt;br /&gt;
As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
&lt;br /&gt;
(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
&lt;br /&gt;
(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
&lt;br /&gt;
(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
&lt;br /&gt;
(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
&lt;br /&gt;
(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
&lt;br /&gt;
(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
&lt;br /&gt;
(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
&lt;br /&gt;
(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
&lt;br /&gt;
(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
&lt;br /&gt;
(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
&lt;br /&gt;
(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
&lt;br /&gt;
(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
&lt;br /&gt;
(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
&lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Correction:Roughly speaking, idioms are expressions whose meanings can not be absolutely understood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact that ''kick the bucket'' is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in the MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example taking the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical meaning. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:03, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
&lt;br /&gt;
Correction: This bankruptcy seems at a few troubles which face the builder of MT systems. We characterize them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy, we mentions times of lexical and structural mismatches and the trouble of non-compositionality (as exemplified via way of means of idioms and collocations) and check out a few techniques for handling them in MT systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:59, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
&lt;br /&gt;
'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_15]]&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132865</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132865"/>
		<updated>2021-12-14T06:59:36Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Summary */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
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Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
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Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
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Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
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Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
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Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
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Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
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&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
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TT: Abu kochwan is stylish man.&lt;br /&gt;
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BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
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From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 5:&lt;br /&gt;
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ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
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TT: He had a weakness for style and fashion.&lt;br /&gt;
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BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
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So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
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Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
Correction: In this chapter, some of the particular problems that translation task poses for the machine translation system manufacturer and some of the reasons why translation is difficult will be discussed.First of all, it is ambiguity that cause problems to arise from structural and lexical differences between languages, and multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2,lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented or by what rules they are to be described, even in well-studied English, and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction,there is no trivial problem in creating a description that is accurate enough to be used by an automated system.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:50, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
&lt;br /&gt;
(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
&lt;br /&gt;
As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
&lt;br /&gt;
(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
&lt;br /&gt;
(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
&lt;br /&gt;
(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
&lt;br /&gt;
(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
&lt;br /&gt;
(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
&lt;br /&gt;
(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
&lt;br /&gt;
(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
&lt;br /&gt;
(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
&lt;br /&gt;
(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
&lt;br /&gt;
(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
&lt;br /&gt;
(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
&lt;br /&gt;
(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
&lt;br /&gt;
(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
&lt;br /&gt;
Correction: This bankruptcy seems at a few troubles which face the builder of MT systems. We characterize them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy, we mentions times of lexical and structural mismatches and the trouble of non-compositionality (as exemplified via way of means of idioms and collocations) and check out a few techniques for handling them in MT systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:59, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
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'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_15]]&lt;br /&gt;
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刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132856</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132856"/>
		<updated>2021-12-14T06:55:24Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘胜楠 A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
&lt;br /&gt;
[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
&lt;br /&gt;
=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
&lt;br /&gt;
颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
&lt;br /&gt;
'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
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Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
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Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
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39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
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46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
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47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
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48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
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49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
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50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
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51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
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52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
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53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
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54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
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55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
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56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
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57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
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58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
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59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
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60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
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61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
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62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
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63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
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64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
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65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
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66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
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67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
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68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
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69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
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70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
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71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
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72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
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73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
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74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
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75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
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76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
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77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
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78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
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79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
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80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
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81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
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82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
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83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
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84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
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85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
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86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
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87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
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88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
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89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
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90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
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91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
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92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
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93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
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94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
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95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
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===Translation Procedure ===&lt;br /&gt;
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6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
&lt;br /&gt;
According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
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=== References ===&lt;br /&gt;
&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
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Correction: In this chapter, some of the particular problems that translation task poses for the machine translation system manufacturer and some of the reasons why translation is difficult will be discussed.First of all, it is ambiguity that cause problems to arise from structural and lexical differences between languages, and multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2,lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented or by what rules they are to be described, even in well-studied English, and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction,there is no trivial problem in creating a description that is accurate enough to be used by an automated system.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:50, 14 December 2021 (UTC)&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
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(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
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As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
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(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
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(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
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(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
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(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
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(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
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(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
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(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
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(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
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(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
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(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
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(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
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(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
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(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
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===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
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'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_15]]&lt;br /&gt;
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刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132852</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132852"/>
		<updated>2021-12-14T06:53:40Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* 刘胜楠 A Case Study of Ne Zha on Subtitle Translation Strategies from the Perspective of Skopos Theory */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
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4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
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5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
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5.1.2 Material culture &lt;br /&gt;
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Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
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5.1.3 Social culture &lt;br /&gt;
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The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
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5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
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Translators' Journal, 50(1), 294-311. &lt;br /&gt;
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Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
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&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
Correction: In this chapter, some of the particular problems that translation task poses for the machine translation system manufacturer and some of the reasons why translation is difficult will be discussed.First of all, it is ambiguity that cause problems to arise from structural and lexical differences between languages, and multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2,lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented or by what rules they are to be described, even in well-studied English, and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction,there is no trivial problem in creating a description that is accurate enough to be used by an automated system.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:50, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
&lt;br /&gt;
(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
&lt;br /&gt;
As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
&lt;br /&gt;
(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
&lt;br /&gt;
(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
&lt;br /&gt;
(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
&lt;br /&gt;
(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
&lt;br /&gt;
(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
&lt;br /&gt;
(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
&lt;br /&gt;
(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
&lt;br /&gt;
(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
&lt;br /&gt;
(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
&lt;br /&gt;
(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
&lt;br /&gt;
(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
&lt;br /&gt;
(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
&lt;br /&gt;
(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;br /&gt;
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'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
&lt;br /&gt;
刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132846</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=132846"/>
		<updated>2021-12-14T06:50:09Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Muhammad Saqib Mehran  Problems in Translation Study */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
&lt;br /&gt;
[[Book_projects|Back to translation project overview]]&lt;br /&gt;
&lt;br /&gt;
[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
&lt;br /&gt;
=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
&lt;br /&gt;
颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
&lt;br /&gt;
'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
&lt;br /&gt;
邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
&lt;br /&gt;
Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
&lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
&lt;br /&gt;
Newmark determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
&lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
&lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
&lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
&lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
&lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
&lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
&lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
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The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
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The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
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In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
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A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
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Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
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Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
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According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
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Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
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Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
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ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
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TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
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TT: Abu kochwan is stylish man.&lt;br /&gt;
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BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
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From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 5:&lt;br /&gt;
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ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
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TT: He had a weakness for style and fashion.&lt;br /&gt;
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BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
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So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
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Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
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4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
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As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
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From khol do.&lt;br /&gt;
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Example 6:&lt;br /&gt;
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ST: Larki ka rang zard hogaya.&lt;br /&gt;
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TT: The girl's face became fail&lt;br /&gt;
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BT: larki ka rang zar hogya.&lt;br /&gt;
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Similarly, another example from the license is&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: Abu our us ke mat beer hogaie&lt;br /&gt;
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TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
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The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
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As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
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4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
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Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
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Example 8:&lt;br /&gt;
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ST: Aur bolwai gos ayai thee?&lt;br /&gt;
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TT: The roitors come abroad.&lt;br /&gt;
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BT: pasadi bahar agai hai.&lt;br /&gt;
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The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
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Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
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4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
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=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
Correction: In this chapter, some of the particular problems that translation task poses for the machine translation system manufacturer and some of the reasons why translation is difficult will be discussed.First of all, it is ambiguity that cause problems to arise from structural and lexical differences between languages, and multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2,lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented or by what rules they are to be described, even in well-studied English, and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction,there is no trivial problem in creating a description that is accurate enough to be used by an automated system.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:50, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
&lt;br /&gt;
(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
&lt;br /&gt;
As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
&lt;br /&gt;
(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
&lt;br /&gt;
(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
&lt;br /&gt;
(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
&lt;br /&gt;
(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
&lt;br /&gt;
(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
&lt;br /&gt;
(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
&lt;br /&gt;
(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
&lt;br /&gt;
(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
&lt;br /&gt;
(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
&lt;br /&gt;
(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
&lt;br /&gt;
(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
&lt;br /&gt;
(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
&lt;br /&gt;
(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
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		<title>Hist Trans EN 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Hist_Trans_EN_1&amp;diff=132731"/>
		<updated>2021-12-14T04:35:20Z</updated>

		<summary type="html">&lt;p&gt;Liu Shengnan: /* Chapter 2： Western Translation History in the Middle Ages */&lt;/p&gt;
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&lt;div&gt;'''History of Translations'''&lt;br /&gt;
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[[History_of_Translations|Overview Page of History of Translation]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Hist_Trans_EN_1]] [[Hist_Trans_EN_2]] [[Hist_Trans_EN_3]] [[Hist_Trans_EN_4]] [[Hist_Trans_EN_5]] [[Hist_Trans_EN_6]] [[Hist_Trans_EN_7]] [[Hist_Trans_EN_8]] [[Hist_Trans_EN_9]] [[Hist_Trans_EN_10]] [[Hist_Trans_EN_11]] [[Hist_Trans_EN_12]] [[Hist_Trans_EN_13]] [[Hist_Trans_EN_14]] [[Hist_Trans_EN_15]] [[Hist_Trans_EN_16]] [[Hist_Trans_EN_17]] [[Hist_Trans_EN_18]] [[Hist_Trans_EN_19]] [[Hist_Trans_EN_20]] [[Hist_Trans_EN_21]] [[Hist_Trans_EN_22]] [[Hist_Trans_EN_23]] [[Hist_Trans_EN_24]] [[Hist_Trans_EN_25]] [[Hist_Trans_EN_26]] [[Hist_Trans_EN_27]] [[Hist_Trans_EN_28]] [[Hist_Trans_EN_29]] [[Hist_Trans_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]] [[DCG-To-Do|Zur To-Do-Liste]]&lt;/div&gt;</summary>
		<author><name>Liu Shengnan</name></author>
	</entry>
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