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20220630 Culture 5

2022-07-06T15:48:24Z

Liu Shuangying: /* Cross-border trade for the dissemination of ceramic culture */

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

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

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Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.

Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.

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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.

Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.

Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.

Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.

Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.

Vermeer, H. Skopos Theory of Translation[M]. 1996.

Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.

Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.

Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.

Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.

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Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.

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==英语笔译刘乐乐 Liu Lele 202170081584==
Chinese Online Fantasy Novels：A comparison Between Dragon Raja and Harry Potter
Liu Lele
===Abstract===
Harry Potter and Dragon Raja, two famous fantasy novels, are similar in many ways including plots, character settings and so on. Since the former is famous across the world while the latter have not been translated from Chinese into English yet, we can learn a lot sentence patterns, phrases, and words from Harry Potter when translating Dragon Raja into English.
===Key words===
Dragon Raja; translation material; communication; fantasy
===Introduction===
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.
===Similarities===
Harry Potter starts from the family of Mr. Dursley, the husband of the main character Harry Potter’s aunt, and Dragon Raja also starts from the family of Mr. Lu Gucheng, the uncle of the main character Lu Mingfei.

There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.

In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.

Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.

Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon Raja", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a loser in Dragon Raja. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.

In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.

Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.
===Differences===
As mentioned above, Harry Potter has a lot in common with Dragons, but that doesn't prevent both books from being excellent fantasy novels. Although there are many similarities between the two works at first glance, there are fundamental differences between the two works
"Harry Potter" is mainly based on the British or European wizard culture as the creation, describes an imaginary magical world. The Dragon Race, on the other hand, mainly creates a dragon world based on Nordic mythology. While Harry Potter is full of wizarding legends and English history, Dragons is based on Norse mythology, but mostly borrows from names and allusions.

Most of the stories in harry Potter take place at Hogwarts, so the rest of the books are very brief. Dragons takes place everywhere, not just at Castle College.

In both books, there are special groups with superpowers, wizards and dragon hybrids. But their lifestyles are totally different. Wizards are more isolated and do not generally interact with Muggles; Hybrids, on the other hand, are hidden in the secular world and hold impressive secular power. And when dealing with enemies, wizards can only use magic, which means that only magic can defeat magic in the Harry Potter worldview. In Dragon Race, the hybrids are very willing to use the power of technology. Science is very important in Dragon Race, and the hybrids are always looking for the combination of dragon power and science.

The ultimate villains in Harry Potter are pure-blood believers led by Lord Voldemort, but they still belong to wizards. As far as dragons are concerned, the villains are dragons. Simply put, the villains in Harry Potter are wizards, while the villains in Dragons are other races. Those who are not of our kind have different hearts. So Dragons as a whole reads more murder and hatred than Harry Potter.

Harry Potter is a fairy tale with strong religious significance in essence. There are many fairy tale elements and religious metaphors in it, and more of them are religious thinking to persuade people to be good. "Dragon Raja" is a secular novel for young people from the beginning, most of which is about the discussion of common people themselves.

In Harry Potter, because it is the essence of fairy tale, the protagonist is naturally good, while the villain is naturally evil. The definition of good and evil is very simple and crude. In The Dragon Clan, it seems that the dragon clan is the villain, but the dragon clan described in the book is not necessarily evil. The confrontation between the hybrid and the dragon clan is more for survival status than good or evil.

In fact, there are many differences between the two works. For example, Lumingfield is more close to ordinary people and easier for us to relate to, while Harry is more like imaginary characters.
===Borrowing from Similarities===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

3.1Sentence Patterns
(1)The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。
In Dragon Raja, it is the same case. So we can translate the above sentence into:
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.

(2)Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...
这也许是杜斯礼一家搞的恶作剧？
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt. So we can translate the above sentence into:
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?

3.2 Phrases
(1)A deafening shout：震耳欲聋
Both in Harry Potter and in Dragon Raja, there’s people like shouting at the main characters, so we can use this phrase to make a vivid description of it.
(2)Questions exploded inside Harry’s head like fireworks.
These two words , “Explode” and “Fireworks”, together constitutes an lively description of the scene. Lu Mingfei was loaded with questions in his head when starting to know everything about dragons, which sounds unbelievable in the real world.

(3)The rattling cart火车咔嗒响。
Both Harry Potter and Dragon Raja have their special trains lead to the schools. So when depicting the sound a train makes in its way, we can use this phrase.

3.3 Words
Since both of the two are novels, when doing translating, we can meet a lot dialogues, which means the Chinese character--”说(said)” will need various substitutions. Besides, there are many descriptions of movements and expressions. Both these words can be very tricky when doing translating. Fortunately, Harry Potter offers various translations of them.

3.3.1 Words to describe the act of speaking(说）
(1) ...Harry asked urgently.
急忙问道，急切问道。
(2) ...said the boy, with a slight sneer.
男孩冷笑道(3)...said the pale boy carelessly,
男孩面色苍白，漫不经心地说
(4) ...he began
他开始说到
(5)...asked politely
礼貌地问
(6)...asked Seamus with great interest.
饶有兴趣地问
(7)...he said coolly
他冷冷地说

3.3.2 Movements and Expressions
(1) waves merrily at him
开心地朝他招手。
(2) sneaking to the kitchen for some food
溜进厨房找东西吃
(3) collapsed into a chair
一屁股坐下
(4) made both of them jump
两个人都吓了一跳
(5) hamming on the door to wake you up.
捶门叫她起床
(6) drumming their fingers on the glass
手指在玻璃上敲击
(7)his stomach rumbling with hunger
肚子咕咕叫
(8) Harry sighed and stretched out on the bed
哈利叹了口气，在床上躺成“大”字形
===Application in translating===
大脸猫头像跳闪，“诺诺”上线。
The profile of a big-face cat flickered, which means NONO got online.
路明非犹豫了一下，“是你？”
“Is that you?”hesitated a little, Lu Mingfei asked
“嗯，陈墨瞳。”诺诺的回答显得懒洋洋的，“没事上来打两盘。”
“Yeah,it’s me, Chen Motong.”She said carelessly,”Got no better things to do than some gaming.”
“你怎么知道我的ID？”
“How did you get my ID?”
“人肉搜索啊，嘿。你居然用‘明明’这种ID，像女孩似的，还有‘夕阳的刻痕’……你是人妖么？”
“Cyber manhunt. Hey, you took Mingming as your ID. Girlish! And “sunset”,are you sure you are not a ladyboy?
“这都能人肉到？千万保密，那是我来逗我弟玩的。”
“You even knew this?! Please keep this secret for me. That’s for playing some little tricks on my cousin.”
“开玩笑的啦，诺玛搜索到的，这对诺玛小菜一碟。你星际打得不错。”
“Just joking. It’s Noma, our intelligent computer, that got all this information. It’s a piece of cake for her. By the way, you are good at Starcraft.”
“行了，我都输给你了。”
“Come on, I lost to you.”
“是我输，诺玛和我一起打的，我们两个控制一家。最后我知道你在升三级基地，因为诺玛偷偷开了地图，看见了。”
“I should be the loser. I played the game with the help of Noma.
“作弊死全家！”路明非打出这句话。
“Cheaters will have his family completely died.” Lu Mingfei type this sentence.
只是随手，这话在群里大家随便说，没谁真的往心里去。
It’s just an online phrase that were often used and no one would take it seriously.
“我家只有我一个人。”诺诺回复。
“I’ve already got no family to lose.”answered Nono.
路明非愣了一下，“对不起。”
Lu Mingfei was stunned a little, and said,”sorry.”
“这有什么对不起的？”诺诺答得很平淡，“玩一盘？”
“Nothing to feel sorry about.”Nono said carelessly still,”Want a game?”
“没心情。”
“not in the mood.”
“失恋了？”
“Broke up with your girlfriend?”
路明非浑身一个激灵，诺诺像是个小巫婆似的，看穿了他的一切，叫他完全无处容身。
“Lu Mingfei was shocked. Nono’s like a little wizard, seeing through everything of him.He could hide nothing in front of her.
“还没有……我没有女朋友，当然不会失恋了，姐姐你想怎样啊？”他输入。
“How can I break up with my girlfriend when I don’t have a one? So what do you want? Big sister!”He typed.
“姐姐叫得还蛮甜的，”诺诺扔出一个龇牙咧嘴的笑脸，“来吧，说说到底怎么回事，我也许能帮上忙。”
“That’s sweet.”Nono sent him a grinning smile,”Alright, let’s hear it.Maybe I can help you.”
“你帮什么忙？你又不认识她。”
“I doubt that.You don’t know about her.”
“我是不认识陈雯雯。”小巫婆诺诺回复得极快。
“Yeah, I do know nothing about Chen Wenwen.”
“你到底知道多少？”路明非忽地很惊恐。
“How much do you know?”Lu Mingfei suddenly got frightened.
“太多了。”
“too much.”
“你们……到底是谁？”路明非手有点抖。
“Who are you?”Typed Lu Mingfei with trembling fingers.
(1) 路明非在屏幕上无奈地打出“GG”（“GG”，指“Good Game”，在竞技类游戏中称赞对方玩得好，也是认负的意思），而后切出了游戏。屏幕上显示的最后一个场景，是十二艘人类巡洋舰以华丽的大和炮聚焦射击，把他的母巢化作了一滩血水。
Lu mingfei reluctantly typed "GG" (" GG "refers to" Good Game "in a competitive Game) on the screen before cutting out the Game. The final scene shown on the screen was twelve human cruisers firing in focus with their magnificent Yamato guns, turning his brood into a pool of blood.
(2) 他输掉了今天的第六局，胜负比例是零比六，这一次他坚持到了22分23秒才被拿下，不过最终还是被拿下了，对方的微操很好，用的又是人类，人类的机枪兵在这个游戏里是个变态的兵种，出枪速度为零，站住了拔枪就射，收枪就跑，路明非的小狗追不上，在路上就一只只被打爆了。
He lost his game for today 6-0，with round 6 hanging/lasting for 22 minutes 23 seconds. His opponent is very good at micro control, with the use of Terran whose riflemen，capable of shooting in an instant，is extremely strong in the game. stood still pull out a gun shoot, gun ran, Lu MingFei's puppy can catch up, thus getting beaten up one by one.
路明非没啃声儿，切到QQ上，那个戴棒球帽的女孩头像还是灰色的，一动不动。对方没上线，又白等了。他抓了抓脑袋，有点失望。另一个头像倒是跳了起来，是个长得很欠的熊猫。
Lu Mingfei did not answer. Switch into QQ, the profile of a girl wearing a baseball cap stayedgray and quiet there. She wasn't online, and he was just waiting for nothing. Scratching his head, he felt a little upset. The other profile was active though，a very disturbing panda.
===Conclusion===
Both Dragon Raja and Harry Potter are great fantasy novels. Dragon Raja has only been enjoyed in China, which to some extent is because it has no other versions than Chinese ones. Harry Potter has both attracting languages and similar plots with Dragon Raja, so there are things can be learned from it.
===References===
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.

==英语笔译刘双英 Liu Shuangying 202170081585==
<center>'''The Devlopment and Dissemination of Chinese Ceramic Culture'''</center>

<center>Liu Shuangying</center>

===Abstract===
This article is divided into four parts. The first part analyzes the connotation of Chinese ceramic culture; the second part discusses the development of ceramic culture in various dynasties, mainly the Neolithic period, the Xia, Shang and Zhou periods, the Tang dynasty and the Song dynasty and other periods; the third part discusses the spread of ceramic culture, mainly from two aspects, namely, two films "China Flower" and "A Porcelain Vase" and the transnational trade of ceramics; the last part is a summary of the whole text.

===Key words===
Ceramic Culture; Cultual Dissemination; Cultural Confidence

===Introduction===
As China's national strength continues to rise, its economy is growing rapidly, but traditional Chinese culture has not yet been well spread. China was one of the first countries to make pottery, and the birthplace of porcelain. From the current archaeological excavations, the earlist ceramics may be the porcelain products created by primitive people when they found that clay was pounded into mud and coated on a container consisting of grass and wood, and the mud would no longer dissolve in water after firing, and soon they started learning to make objects using only clay.(Guo Yue&Song Lili 2022, 31）
The ceramic culture explored in this paper has a long history, but with the development of the times, today's Chinese ceramic culture is far less flourish than in the past. At a time when the country is vigorously promoting cultural outreach and enhancing cultural confidence across the board, it is especially important to reinvigorate ceramic culture and strengthen the development and dissemination of Chinese ceramic culture. People from other countries in the world do not yet know much about traditional Chinese culture, especially in some specialized fields, such as the pottery-making techniques in ceramic culture, and sometimes the knowledge and terminology in these fields are not well understood by our own Chinese laymen as well, who only know some very basic and superficial things. Foremostly, we have to understand its intrinsic cultural connotation and unique historical value before we can plan for its way out and prepare for its revitalization. Therefore, the dissemination of these traditional cultures requires more effort, time and energy to get out of the country, catering to the strategy of "Chinese culture going out" as stated by General Secretary Xi Jinping, which is also of great practical significance to the Chinese dream of the great rejuvenation of the Chinese nation. Only when the economy and culture develop together, and the most characteristic industries of the nation are exported to the outside world, so that more people can understand its unique characteristics, can a country be truly strong and respected by the world.

===The connotation of ceramic culture===
Ceramics is a general term for pottery and porcelain, and ceramics itself is a kind of arts and crafts, as well as a folk culture, which can be seen in folk and temple in ancient times. Mr. Chen Yuqian combined the practicality and aesthetics of ceramics, the unity of science and technology and plastic art and regional factors to define ceramic culture: the essence of ceramic culture actually refers to the various types of cultural connotations embodied in the process of production to display and sale of ceramics.（Hong Lin 2018, 07）Traditional ceramic culture, commonly speaking, is the way of inheritance preserved by the ancestors of the Chinese nation in the production of ceramics, making objects. It is the evolution of ancient Chinese traditional thought, with local folk customs as the core, reflecting the aesthetic ideas of the people, the pleasure of life and the laws of formal beauty at that time.（Wang Fang 2017, 163）
In the light of the above opinions, I believe that ceramic culture includes not only the crafts of making various kinds of fine ceramics, but also the various ideas incorporated into porcelain by ancient working people when making ceramics. From the very beginning, ceramics were only designed for daily use, but later on, various carving techniques were developed, colors were enriched, painting and calligraphy were incorporated into ceramics, and so on, making ceramics more and more exquisite. And in different periods, ceramics show different appearance, and people's preferences for thier appearances and colors, for each stage of the unique image reflects the social landscape of the period, reflecting the rich historical stories behind the characteristics of the historical form of special periods, such as the famous ceramics of different historical periods, such as the Tang Dynasty’s "Tang Tri-Color Glazed Ceramics", the rich colors of the ceramics had changed the style of plain porcelain in the past, reflecting the openness and inclusiveness of the Tang Dynasty to a certain extent. There are many other famous ceramics of other dynasties that reflect the special connotation of the times and the temperament of the people. This is the ceramic culture hidden deeply in the ceramics, which is worthy of our study and learning, and should be vigorously inherited and developed, which is what our country has been advocating that we should stay true to cultural confidence, requiring the Chinese people to adhere to the excellent Chinese traditional culture and faith. It’s the pride of the advanced culture of socialism with Chinese characteristics. Ceramic culture is also something that should be spread vigorously in the new era, so that we can let more people obtain more specific information about China and enhance its the international status.

===The development of ceramic culture in different dynasties===
Ceramic culture has been an important part of Chinese more than 5,000 years culture, and ceramics have been produced for thousands of years since the ancient times.（Shao Changzong 2022, 01）Ceramic culture began in the Neolithic period, and each historical period has shown different characteristics. During the Tang Dynasty, there is the famous " Tang Tri-Color Glazed Ceramics " ceramic culture, which reflects the characteristics of the pottery skills of the Tang Dynasty. During the Yuan Dynasty, there is the famous "Jingdezhen blue and white porcelian" ceramic culture, and many people know about Chinese ceramics because of the blue and white porcelian. Black pottery, colored pottery, etc., all reflect the characteristics of unique aesthetic skills. Just like our modern life, the things that are popular in different periods will be different, which to a certain extent can also reflect the current social customs and mainstream thinking, so the different types and colors of ceramics presented in different historical periods reflect the ceramic culture, but also reflect the thinking of the people in the society at that time.
======Neolithic Period======
The ancestors living in mainland China during the Neolithic period had already learned to fire pottery for daily use, and some data even show that early wine vessels had already appeared.（Yang Xiao 2020, 43）
The distribution and phasing of Neolithic ceramics in China are often divided according to two major basins: the Yellow River basin is divided into Yangshao culture, Majiayao culture, Qijia culture, Dawenkou culture, Longshan culture and other small branches according to the historical development, and the Yangtze River basin can be divided into Daxi culture, Qujialing culture, Hemudu culture, Majiabin culture, Songze culture and Liangzhu culture. Neolithic pottery is mostly decorated with geometric patterns and red and black colors, which indicates that people have mastered the theory of red and black color change of hematite. According to the information found, the following is a brief introduction to the pottery of the Yangshao and Longshan culture periods.
The Yangshao culture period is dominated by sandy red pottery, brown pottery and clay red pottery, with less gray and black pottery. Color pottery is the most representative kind of pottery in Yangshao culture. Shaoyang culture early pottery production method is mainly done by hand, to the middle and late stages "rotating method" slowly appeared. The surface of the pottery is mainly plain and polished, and the decorations have rope pattern, scratch pattern and so on. Pottery is mainly used for daily life, such as food and drinking utensils. Long Shan culture pottery is dominated by sandy gray and black pottery and clay gray and black pottery, black pottery, brown pottery and red pottery second. During this period, the rotating method has been quite common, hand-made and coil method is still seen in use. The surface text of the ware is mainly rope pattern, chevron pattern, etc., and the types of pottery are also more abundant than during the Yangshao culture.
======Xia, Shang and Zhou Periods======
Xia Shang Zhou pottery is the pottery in the bronze age, so the appearance of the pottery in this period mostly imitate the bronze’s. Early pottery-burning kilns appeared in the Xia Dynasty are similar in appearance to the dome kilns in the north. Although the Shang Dynasty did not stand out in the quality of ceramics, but was the first one created the earliest "glaze", which is applied to the pottery, playing a beautiful and clean role, in addition to slowing down the speed of water seepage of pottery, laying the foundation for the emergence of porcelain. Chinese working people mastered the art of glazing on pottery and invented the real sense of porcelain. Compared with the previous pottery, porcelain is solid and durable, with smooth and beautiful body. The emergence of porcelain techniques is a great progress in the history of the world’s porcelain.（Wang Lun 2021, 44）The primitive porcelain made in the Shang Dynasty, also known as glazed porcelain, with features of bright glaze, bright colors, high hardness, and low water absorption.（Jia Binqiang 2017, 24）
The primitive porcelain of the Shang dynasty is made of kaolin clay, firing above 1200 degrees Celsius, whose color of the clay body is mostly off-white, and the glaze is even and bright, emboding a charming color. These characteristics are basically similar to the conditions that porcelain should have. However, its clay body material is not fine enough, and what’s worse, there is a certain degree of water absorption, no light transmission, poor combination of clay and glaze, and easy to flake.
======The Qin, Han and North-South Dynasties======
The Qin Dynasty saw the emergence of large terracotta figurines, and the most famous of which is what we know today the life-size terra-cotta soliders ans horses in Chin tomb. They are very realistic and tall, and very delicate, which shows that the pottery making technique in China reached a very high level in the Qin Dynasty. During the two Han dynasties, pottery was still dominated by gray pottery, with a variety of shapes, and in addition to living pottery, there were also burial ware and architectural pottery. Most notably, in the Eastern Han Dynasty, the successful firing of celadon ware was another brilliant achievement in the history of Chinese ceramics. In the Han Dynasty, the use of Long(dragon) kiln and the emergence of high-temperature glaze ceramic are most typical. Dragon kiln is the kiln whose roof is closed, the kiln body inclined, the lowest section for the fire chamber, the highest end as a smoke vent, because the kiln body built on the mountain, like a dragon coiled from top to bottom in the mountainside, so named dragon kiln. （Yang Xiao 2020, 44）
Dragon kiln temperature changes quickly, so it can be used to do rapid firing. After solving the problem of raw materials, people can fire more than 1200 degrees Celsius high-temperature glaze porcelain through the dragon kiln. The surfaces of ceramics produced in the Han dynasty usually together decorated by flowing clouds and vivid birds and animals. The decorations are full but not chaotic, and the decorative patterns represent the unique style of the Han dynasty, making ceramics look rustic not dull, such a decorative style has a lot to do with the Han dynasty's strong state power and open cultural mentality.（Hong Lin 2018, 11）
Although the period of the Northern and Southern Dynasties is a more turbulent period in anicent China’s society, but the ethnic groups are living in groups, so they can communicate with each other, achieving ethnic integration, and promoting the development of agriculture and handicrafts around the country to varying degrees. Because from the end of the Eastern Han Dynasty, China appeared last 400 years of division situation, resulting in the decline of handicrafts, especially ceramic handicrafts in a long-term standstill. During the Northern Dynasty, the greatest achievement was the emergence of white porcelain. The emergence of celadon and white porcelain paly a significant role in the appearances of porcelain of the Song Dynasty and the "five famous kilns". White porcelain is based on the development of celadon, the main difference is that the raw materials of white porcelain contain lower content of iron than that of celadon.（Jia Binqiang 2017, 25）This shows that at that time there was an understanding of metal coloring agent, which is a major breakthrough in the history of porcelain in China, laying a foundation for the development of color porcelain later. There are several outstanding decorative features during this period: pile molding, piercing techniques, lotus decoration, etc., all of which show the prosperity of ceramic craftsmanship and decoration in this period.
======The Tang Dynasty======
The Tang Dynasty is more powerful and all the people begin to communicate and exchange more frequently. Compared with the ceramics of the Han Dynasty, the ceramics of the Tang Dynasty are more refined. The " Tang Tri-Color Glazed Ceramics " of the Tang Dynasty is also the most well-known ceramics nowadays, but the Tang Tri-color glazed ceramics is not porcelain but pottery. The word " Tri-color " means colorful, including green, yellow, brown, ochre, red, white, blue, black and other colors. Tri-color glazed pottery is made of white clay, glazed with low-temperature glaze containing lead and using iron, copper, manganese, cobalt and other metals as coloring agents, and baked at a low temperature of 750-850 degrees Celsius. This period the surfaces decoration of ceramics began to focus on humanistic pursuits and life spirit, and the ceramic artisans liked to use plants that are closely related to life to decorate ceramics, such as lotus, linden, peony, etc.. Since the travel of Zhang Qian to the West during the reign of Emperor Wu of the Western Han Dynasty, Buddhist ideas have been introduced to the Central Plains and have had a great impact on Chinese history and even modern social development. （Shao Yu 2022, 89）
The elements mentioned above as the decorative patterns of the wares are the usual elements used by Buddhists. During the Tang Dynasty, along with the increasingly frequent cultural exchanges between China and foreign countries, camels gradually became a favorite subject for artisans and craftsmen, and this preference can be reflected in the production of the Tang Tri-color glazed ceramics, which is the best proof of the cultural openness during the Tang Dynasty. In addition, most of the porcelains of the Tang Dynasty were full and round, which indirectly reflected the aesthetic characteristics of the Tang Dynasty with fat as the beauty. This colorful and splendid artistic expression of the Tang Tri-color glazed ceramics can be seen that the Tang Dynasty had a strong power, advanced economy and frequent foreign exchanges at that time (Sun Jingyi 2016, 31). The fact that ceramics of the Tang Dynasty could develop to such a high level is inseparable from its strong national power. In general, from the Northern Dynasty to the Tang Dynasty, the domestic porcelain production pattern of "Southern Celadon and Northern White porcelain" was formed, with the South mainly producing celadon, which was light and delicate, and the North mainly producing white porcelain, which was solid and fair.
======The Song Dynasty======
The Song Dynasty is the peak of ceramic development, with a rich variety of products. The famous "Five Famous Kilns", namely the Ru, Jun, Ge, Guan and Ding kilns, each had its own characteristics, and the Ru, Jun and Guan kilns are successively monopolized or designated by the royal family to fire imperial porcelain. The Ru kiln originated in the area of Ruzhou and Baofeng. Ru kilns are mainly cyan in color, mostly for civilian life porcelain. In the late Northern Song Dynasty, the government monopolized the Ru kiln which was originally engaged in the production of printed celadon for the civic as the official kiln, exclusively for the palace firing imperial goods. Therefore, the Ru kiln consists of two parts: one is official Ru kiln, dedicated to the court to burn imperial porcelain, the other part is for the common people to burn porcelain to meet the needs of the people at the time. The glaze of Ru porcelain is warm and moist, deeply loved by the emperor of the Song Dynasty. The emergence of the Ru kiln unveiled a new stage of ancient celadon techniques in China, changing the previous statement of "southern celadon and northern white porcelain". （Jia Binqiang 2017, 26）
Jun Kiln, the site of which is located near Juntai and Bagua-dong in the north of Yuzhou City at present, is named for its proximity to Juntai. During the Huizong period of the Northern Song Dynasty, it was designated as an imperial treasure. The glaze colors presented by Jun porcelain can be roughly divided into: rose purple, begonia red, eggplant purple, etc. Jun porcelain has an important place in the history of the development of science, technology and art of ceramic craftsmanship in China. The fine "opening pieces" of the Ge and Guan kilns have brought ceramic aesthetics to a new level. The white porcelain of Ding kiln is rich in decorative techniques, and the layout of the decoration is rigorous and well-defined.
The main achievement of porcelain production process in the Song dynasty was improved the quality of porcelain, reaching a high level of no one before or since, with a rich variety of shapes. It also applied the scraping and scratching and other techniques, enriching the decorations of Song porcelain. During the Song dynasty, Jingdezhen fired, in addition to, high-quality Yingqing (misty blue) porcelain. The misty blue decorative patterns are clear and vivid, creating an elegant and fresh appearance, with a sense of refined artistic style.
======The Yuan, Ming and Qing Dynasties======
The Yuan Dynasty was a period when China was ruled by the grassland people, and a large number of grassland people entered the Central Plains during this period. The Yuan Dynasty inherited the pinnacle of ceramics from the Song Dynasty and gave birth to a richer variety of ceramic wares, such as the familiar blue and white porcelain and blue-glazed porcelain. The craftsmanship of this period is characterized by heavy body, not fine enough texture, thick glaze, and most of the wares the Yuan Dynasty are large porcelains, which also reflects the Yuan Dynasty people's rugged and unrestrained characteristics.（Sun Jingyi 2016, 31）
The Ming Dynasty’s porcelain painting skills are neat and delicate, with concise patterns, decorated by birds and flowers. Figures, moutains and lakes, and a variety of animal subjects emerged in large numbers, with a strong artistic impact. The Ming Dynasty’s craftsmanship attached great importance in practical, as well as elegant technical characteristics. Compared with the Tang and Song dynasties, the Ming Dynasty period is not focused on the use of engraving, scratching, stamping methods, but mainly with painted flowers, to maintain the glossy surface of the glaze, presenting a plain and bright style, reflecting the subtle characteristics of people in the Ming Dynasty.（Hong Lin 2018，12）During this period, it also absorbed foreign ceramic firing techniques, thus making the emergence of distinctive enamel wares.
During the Qing Dynasty, ceramics made great progress in both modeling and decorative techniques, and the creation of famille rose porcelain in Jingdezhen was influenced by enameling. The low firing temperature of famille rose porcelain also took use of the rendering painting method of Chinese painting, making the ceramic floral surface pink and soft. The brightly colored famille rose porcelain produced in the Qing Dynasty reflects the great enthusiasm of the people in this period.

===The spread of ceramic culture===
Times are changing, and history is developing, while ceramics has lasted for thousands of years and has not decayed, which also shows that ceramic culture has a profound connotation, and its cultural charm is worth passing on and carrying forward from generation to generation. Cultural confidence is the endogenous force of cultural heritage and development. Traditional ceramic culture requires continuous innovation and development in order to maintain vitality, the closeness will only accelerate the decline and even extinction. (Wang Fang 2017, 164) In order for the country to have a comprehensive development, economic development and cultural development need to be kept in harmony and balanced. In the current era of such rapid development, especially in the current Internet era, the network makes the communication between different cultures more convenient and faster, and the propaganda is also unmatched by traditional media, like the short video shared Li Ziqi about her residential life on several platforms before, which attracted the love of domestic and foreign audiences, and the content shared in her video is of some significance to the spread of Chinese culture. In addition to that, ceramics foreign trade will be easier than other ways for spreading ceramic culutre, because commodity trading is a more frequent activity between countries. Therefore, in this high-tech era, we have to use modern technology to make ceramic culture continue to flourish, to let more people know about it through more understandable ways, such as movies, documentaries, etc., to experience the beauty of ceramic crafts, to export more elegant and exquisite ceramic products, and to let more people experience and marvel at the greatness of Chinese ceramic culture.
======The role of film in the dissemination of ceramic culture======
Film and television media, as the propaganda carrier, depend on television, film and network and otthers for information dissemination.（Li Chunning 2011, 70）Film and television media can give people visually watch and enjoy the contents showed in them, so that people can feel intimate, vivid images. With vivid content displayed in front of audience, they are easy to be accepted and recognized by the audience. The film "China Flower" and "A Porcelain Vase " exemplify the perfect combination of film and ceramic culture.
The story of " China Flower" is very small, mainly talking about a pair of blue and white porcelain bottles, but although this pair of bottles is ordinary on the surface, its life's glory and humiliation is closely related to the ups and downs of Chinese history.（Zhang Wenjing 2020, 16）The story unfolds in three parallel times, connecting the three pairs of main characters by the blue and white porcelain bottles as the pivot to start its the narration. Although the story unfolds with the blue and white porcelain bottles, it is not limited to the description of the bottles, but also tells the story of the loyal love between two people, national sentiment and even national honor. The pair of blue and white porcelain carries the unrepentant vow between kiln maker of the Yuan Dynasty and his wife, and carries the fearlessness of scholars returning from foreign countries for study in the late Qing Dynasty in the face of the waning dynasty's helplessness and dedicating to defend the interests of the nation, presenting the sacrifices made by patriots in that era to preserve the country's cultural relics. The zeal of our forefathers is not only to save the bottles, and to defend the backbone and fortitude of the Chinese nation, but also displays their eagerness for a bright future of this nation. Although the film does not show a lot of footage about the manufacturing of ceramics, but intersperses with a lot of authentic ceramic knowledge, such as the film in the choice of different porcelain in different scenes, which are very good to promote the ceramic culture.
The film " A Porcelain Vase ", shot in 1979, has distinctive features of that era, and the most striking of which is the ceramic elements. The film begins by telling the audience a poignant legend related to Ji Hong(sacrificial red, intepreted literally), a kind of porcelain, which also sets a tragic tone for the whole story. Sacrificial red is not gaudy, red with a slight purple, no cracked texture in the glaze, is the treasures in color glaze porcelain.（Zhang Wenjing 2020, 17）
The story of the film " A Porcelain Vase " happened in the Ming Dynasty. The emperor asked Jingdezhen porcelain workers to fire the porcelain within 3 days, or all workers would be beheaded, which was obviously a great challenge for the craftsmanship at the time. When everyone was desperate, Linglong, the daughter of an old worker, jumped into the kiln and sacrificed herself to create thel red porcelian vase. There are several versions of this legend about the sacrificial red, but the one in this film is the most widely circulated. Some versions call this red glaze "beauty drunk"(美人醉), but the general content is the same. Ceramic folk tales, although most of them are fictional, some of them also add a certain mythological color, but they all express the good wish of ancient working people and porcelain workers. It is their pursuit of ideal and faith under the historical conditions at that time. At the same time, it also reflects the spirit of struggle of the people at that time to defy hardship, tenacity and unyielding, not afraid of sacrifice.（Wang Lun 2021, 45）
Many of the more professional traditional culture is difficult to carry forward and spread out, because its professionalism is too strong, away from people's daily lives, so it is difficult for people to resonate. And ceramic culture is a regional culture, requiring a high degree of professionalism, a lot of professional background knowledge and skills, which can not be easily get obtained by the ordinary people. But the film can lead people together to appreciate the shape, color and historical connotations of Chinese ceramics This is an aesthetic activity that the public can participate in, which is also the advantage of film and television in the dissemination of ceramic culture.
======Cross-border trade for the dissemination of ceramic culture======
In a sense, artifacts are much easier to spread across national borders than culture.（Chen Shali 2019, 181）Chinese ceramic has tri-status in society, that is, at the intersection of daily life, commerce and art, and is both a practical object, a commodity, and a work of art and a collection, closely related to social behavior, long-distance trade and upper-class taste, providing the world with a unique perspective on world history. Whether for political purposes or commercial interests, trade has become an important vehicle for Chinese cultural exports, and each ceramic object exported to the outside world carries the ideas and emotions that Chinese culture seeks to express. According to statistics, China ranks first in the world in terms of the value of ceramic production and export each year, with daily-use ceramics accounting for about 70%, artistic porcelain for 65%, and architectural porcelain for 50%.（Wang Fang 2017, 165）
The famous Italian traveler Mark Polo appreciated Dehua porcelain in his travelogue: "The porcelain are plentiful and beautiful!", and after he returned to his country, the Dehua porcelain was brought back to be treasured in St. Mark's Cathedral in Venice, which was known to the world as "Marco Polo porcelain" and became the first piece of Chinese porcelain arrived in Europe in the written record.
Another high point in the spread of Chinese ceramic culture in Europe came during Zheng He's voyage to the West during the Ming Dynasty, when large quantities of fine Chinese porcelain entered the European public's view and the message of Chinese culture it carried was widely disseminated. （Tan lijun 2020, 80）On their return voyage, the fleet also carried a large number of foreign goods, including the important pigment for blue and white porcelain, smalt, which was produced in West Asia. The vigorous development of Sino-foreign trade and commerce greatly promoted the circulation of Chinese ceramics around the world and the extraterritorial spread of Chinese culture. It is probably not unfamiliar for the people about the blue and white porcelain, which has been the leading porcelain type in China for more than a century. But the blue and white porcelain is not a completely local product, but the result of the collision between Chinese culture and Islamic culture. The Chinese do not have the national psychological tendency of white and blue, but the merchants in the Persian region of West Asia know that China's Jingdezhen can produce high-quality white porcelain, and they love blue.With the combination of the smalt of Persian region and Jingdezhen quality white porcelain, porcelain decoration in addition to the traditional landscape, figures, flowers and birds, etc., but also adds the decorative patterns with Islamic cultural characteristics, thus creating the world-renowned blue and white porcelain.
Chinese ceramics influenced by the outside cultures, but while Chinese ceramics in the sale to Europe, it also cast influences on the outside world, such as the 18th century Rococo art, an European art style, characterized by flamboyance, elegance, and Chinese blue and white porcelain is rich in rustic, fantasy and elegant features, these characteristics just in line with the European aesthetic orientation during the "Rococo art" period. This influence can be bluntly said to be the product of the borrowing and integration of Western and Chinese culture and art.（Hong Lin 2018, 19）This reflects the two-way influence of cultural transmission, that is, Chinese ceramic culture in the process of spreading will accept the influence of the outside world, and in turn it will also have a certain influence on the outside world.

===Conclusion===
Chinese ceramic culture has a long history, from the beginning of the Neolithic period of household ceramics, but then with increasingly rich types of ceramics, and ceramic skills are more and more exquisite, glaze colors are also more and more rich, creating a lot of prestigious ceramic products. Film and television have brought ceramic culture to the audience in a more interesting and intuitive way, making it easier for ceramic culture to enter the hearts and minds of the public. Transnational trade in ceramics allows Chinese ceramics to go beyond the borders of China, allowing people around the world to experience and appreciate Chinese ceramic culture and its beauty together. Chinese ceramics culture is profound and long-standing, and is a representative and symbol of the soft power of traditional Chinese culture. From the perspective of spiritual culture, ceramic culture contains a rich social connotation, and different periods of social development represent different Chinese cultural spirits. Ceramic culture has been continuously inherited, developed and innovated in the long history. Nowadays, in the new century when Chinese and Western cultures are colliding with each other, how to protect these traditional cultural resources and pass them on permanently requires the efforts of all people. To maintain the vitality and vitality of Chinese culture, we need to take the initiative to go out and interact with the excellent cultures of the world's ethnic groups. Continuously learning, borrowing and absorbing the excellent cultures of the world's ethnic groups is a must for the great rejuvenation of the Chinese nation.
Promoting the dissemination of ceramic culture helps the innovative development of ceramic culture and art in the new era. For ceramic culture to develop in the long run, it is necessary to not only keep the tradition, but also to focus on the actual needs of modern society and achieve innovation. The creative transformation and innovative development of traditional ceramic culture will enable the Chinese nation to participate in world cultural exchanges with a stronger cultural confidence.

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==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

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===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Transmission of Contemporary Chinese Literature in English-speaking Countries: A Case Study of ''Red Sorghum'''''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===
In the globalization pattern of cultural pluralism and coexistence, it is the top priority of cultural construction and reform to enhance the global influence of Chinese culture and spread and promote Chinese culture to the world. It is our goal to promote Chinese culture to go global, and the translation of Chinese literature into foreign languages is an important means to achieve this goal. However, this process is not always smooth, and as the process of "going global" in China is hindered, people gradually realize that many factors other than the act of translation are affecting the "going global" of Chinese culture.

Mo Yan is a leading figure in contemporary Chinese literature, and after winning the Nobel Prize for Literature, the attention and sales of his works abroad have increased dramatically. At a time when translations of Chinese contemporary literature have repeatedly suffered setbacks, the successful translation of Mo Yan's novels has sounded the trumpet of victory. This paper analyzes the importance, current situation and reasons for the "going global" of contemporary literature with reference to Andre Lefevere's theory of "three elements" (patronage, ideology and poetics), and studies the successful translation of Mo Yan's masterpiece ''Red Sorghum'' overseas. The study of the successful translation of ''Red Sorghum'' overseas, and the exploration of the effective translation mode of contemporary literature in China, are hoping to contribute to Chinese contemporary literature's going global.

===Key words===
contemporary Chinese literature; transmission; ''Red Sorghum''

===Introduction===
With the further development of globalization, it is no longer a pure economic phenomenon. What accompanies economic globalization is political globalization and the exchange, collision and integration of "soft power" with cultural ideas, ideologies and values as its basic connotation across national borders. Culture is an important symbol of a country's soft power and plays an increasingly prominent role in the competition for comprehensive national power. The globalization of cultural communication has become a social reality that cannot be ignored. (Xu Wen 2013: 96) Different countries, nationalities and cultures want to communicate with each other, so that cultural communication can break through the original national boundaries and geographical restrictions, and eventually get out of the narrow and prejudiced national culture and gain recognition in the global scope.

The "going global" of Chinese culture has been elevated to a national strategic level, and the translation of contemporary Chinese literature, as an important carrier of culture, has assumed the primary task. However, it must be admitted that Chinese literature in general is still in a marginal position in the field of world literature. From the overall situation of translation and dissemination of Chinese contemporary literature, the problems of poor quality of translation, few number of publications, and low overseas acceptance are very prominent. According to statistics, during the nearly 110 years from the beginning of 1900s to the beginning of 2000s, China translated and introduced about 100,000 Western books, while the West introduced less than 500 Chinese books. In recent years, China has introduced about 150 American books in a year, while the United States has imported less than 10 Chinese literary works. (Bao Xiaoying 2015: 80) There is an obvious imbalance between the export and import of literature. Thus, it is clear that there is a long way to go for Chinese contemporary literature to "go global".

On October 11, 2012, Mo Yan was awarded the Nobel Prize in Literature, becoming the first Chinese writer to win the Nobel Prize in Literature. Since then, the popularity of contemporary Chinese literature in the world literary scene has increased dramatically, more readers from abroad have begun to pay attention to the works of contemporary Chinese writers, and the attention of overseas academic circles has also begun to focus on Chinese literature. This has offered a good opportunity for Chinese contemporary literature to go global, and also put forward new ideas for the study of translation and dissemination of Chinese contemporary literature overseas.

Since 1988, Mo Yan’s works have been translated into English, French, Spanish, German, Swedish, Russian, Japanese and other languages. As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. At the same time, as the first novel to be translated overseas and immediately gain acclaim and access to Western commercial channels, ''Red Sorghum'' has set a model for the translation and transmission of contemporary Chinese literature.

This paper takes Howard Goldblatt's translation of ''Red Sorghum'' as a case study to examine the overseas transmission and acceptance of this translation on the basis of previous studies, so as to provide some inspiration for the transmission of contemporary Chinese literature. Due to the limitations of language, this paper will only talk about the translation and transmission of contemporary Chinese literature in English-speaking countries.

===The Importance of Contemporary Chinese Literature Going Global===
Culture has always been an important factor affecting national competitiveness. All major countries in the world have made the improvement of their culture an important national development strategy. Every country, nation and culture wants to exchange with each other, so that their culture can break through the original national boundaries and geographical restrictions and achieve a wider and deeper dissemination. At present, "Chinese literature going global" is flourishing, and the translation of Chinese literature has become an important part of spreading Chinese culture (Bao Xiaoying 2013: 62). Since the 21st century, China has devoted itself to the translation and interpretation of Chinese literature, and has launched a series of publication projects on the translation and dissemination of Chinese literature. At the same time, many journals of Chinese literature in English translation have been established to promote contemporary Chinese literature to the English-speaking world (Yu Hong 2021: 112).

Culture is an important symbol of a country's "soft power" and a symbol of its influence and cohesion. Culture as a soft power plays an increasingly prominent role in the competition for comprehensive national power. Culture has always been an important factor in national competitiveness. Having a strong "cultural soft power" means being able to win the initiative in the fierce international competition. Without cultural soft power, a country has no connotation, no support, and cannot become a real major country.

The strategy of "going global" of Chinese culture was first proposed in the mid-1990s. The "going global" strategy is a major initiative in the new stage of opening up to the outside world. Since then, the "going global" strategy has been expanded from the economic field to the cultural field, and relevant documents have been issued one after another.

Chinese culture "going global" has two basic meanings: First, it is the dissemination of Chinese cultural ideas and cultural forms to the world through cultural exchange. Second, it refers to the export of cultural products and services in international trade (Xiao Yingying 2012: 84). Compared with developed countries in the West, China has a serious "cognitive deficit" in cultural trade, from ideas, cultural symbols to cultural products, and many countries still have a fragmented, one-sided and superficial understanding of Chinese culture. China's economy is growing, but it is still in a weak position in terms of cultural soft power, such as cultural communication and influence, and cultural weakness, which can only be solved by developing cultural industries and communicating with other cultures (Bao Xiaoying 2014: 7).

Communication is the nature of culture, through which different cultures can be perceived. In today's globalization, cross-cultural communication affects people's thought and behavior from different aspects. Translation has always played a very important role in the process of intercultural communication. Translation is not only the conversion of language, but also the transmission of culture. Translation can spread new ideas, new concepts and new technologies, promote cultural exchange and progress, as well as promoting the common development of different cultures. Throughout the history of Chinese and foreign cultures, it is evident that translation has played a great role in spreading cultures in the world. Translation has greatly enriched the exchange and dissemination of Chinese and foreign ideas.

Above all, translation bridges the language barrier between different cultural societies, contributes to the exchange and interaction of cultural information with other countries, facilitates the common development of national cultures, and promotes the sharing of human civilization. "The development within a country and the establishment of its international status depend largely on cultural soft power, and cultural soft power, whether imported or exported, is, in our opinion, first and foremost a translation issue." (Xu Jun 2012: 12) The current strategy of "going global" of Chinese culture advocated by the Chinese government is, in a small way, to export our "cultural soft power" through the power of "translation", and in a larger way, to enhance China's "international status" (Hu Anjiang 2012: 56).

The translation, publication and dissemination of Chinese literature have become an important part of China's cultural outreach. The world needs to observe China through Chinese literature, and China needs to show its true image through literature. Without the role of translation as a medium and without the outreach of translated texts, the outreach of Chinese culture will only be empty talk. It has always been the goal of the country to promote the "going global" of Chinese culture through the translation of Chinese classics (Bao Xiaoying 2013: 54).

===Transmission of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present) (Wan Yu 2021: 220).

In the first stage, China had fewer exchanges with English-speaking countries due to political-ideological conflicts. As a result, relatively few foreign-led publications of contemporary Chinese literature were published during this phase. In the first stage, contemporary Chinese literature translated to English-speaking countries focused more on social and political aspects than on literary aspects.

In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. Compared with the first stage, except for the selection of materials that glorified the revolution and took the working and peasant classes as the main characters in the early period of the founding of the PRC, the domestic publishing institutions were more strict about the themes of translated works during the Cultural Revolution. During this period, more works related to revolution and reflecting class struggle came to the English-speaking countries.

In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some works of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions didn't pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. Meanwhile, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak.

Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than publicity; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and markets. The English-speaking world, Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

Since Mo Yan was awarded the Nobel Prize for Literature, a large amount of Chinese literature, represented by his works, has been translated into the United States and other parts of the world. However, data show that translated works account for only 3% of the total number of publications in the United States, of which less than 1% are literary translations, indicating that the American public does not have an urgent and strong intrinsic need for foreign literature and culture (Xie Tianzhen 2019: 95).

===The Successful Transmission of ''Red Sorghum''===
'''Brief Introduction to ''Red Sorghum'''''

''Red Sorghum'' is a long novel written by Mo Yan, divided into five chapters: ''Red Sorghum'', ''Sorghum Wine'', ''Dog Ways'', ''Sorghum Funeral'', and ''Strange Death''. The five chapters were first published as novellas, of which ''Red Sorghum'' was first published in ''People’s Literature'' in 1986.

''Red Sorghum'' is a family saga of Yu Zhan-ao and Dai Fenglian(identified as Granddad and Grandma from a boy’s perspective), covering their romance, their spontaneous resistance against the Japanese invaders between 1939 and 1941. This novel is set in the fields of dense, tall, red sorghum plants in Northeast Gaomi Township, Shandong Province, China, hence the title ''Red Sorghum''. ''Red Sorghum'' is a classic work that shows the tenacity and national spirits of the Gaomi people in the Anti-Japanese war.

'''Translation and Transmission of ''Red Sorghum'''''

In 1988, Mo Yan’s work ''Dry River'' was first translated and published in Japan, and in 1999, a total of 54 foreign translations of Mo Yan’s works were published during the 11 years, focusing on three works: ''Red Sorghum'', ''Red Sorghum'' and ''The Garlic Ballads''. A total of 30 overseas publications of ''Red Sorghum'' and ''Red Sorghum'' accounted for nearly 60% of the total overseas publications of Mo Yan’s works during this period.

As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. Compared to most Chinese literary works that do not sell well overseas, the sales of ''Red Sorghum'' are more optimistic. According to scholar Bao Xiaoying’s statistics, the English version of ''Red Sorghum'' was published in 1993 and sold more than 50,000 copies in a dozen years, which is not bad sales.

A very important indicator of the reach of a Chinese work of literature in the United States is the number of U.S. libraries that collect the work. If the number of U.S. libraries collecting the work is high, it means that the work is widely distributed in the United States, and vice versa (Liu Guozhi, Chi Changhai. Li Qingliu 2022: 60).

According to the table of the top 10 ranking of the dissemination of English-translated Chinese contemporary novels published in the United States, it can be seen that the English-translated novel ''Red Sorghum'' ranks third overall among the Chinese contemporary novels published and disseminated in the United States. It can be said that ''Red Sorghum'' is the most widely distributed Chinese contemporary novel in the United States. Table 2 shows the collections of public and community libraries and libraries of universities and research institutions in different states. It also shows the ranking and distribution of the top ten states in the United States for the distribution of the novel ''Red Sorghum'' in English translation. Six of the top ten states have more than 40% of the public and community libraries collecting ''Red Sorghum'': 50% in Ohio, 49.23% in Illinois, 48.92% in California, 43.90% in Florida, 43.24% in North Carolina, and 41.27% in Texas, with Ohio accounting for half of the public and community libraries. . These data indicate that the Chinese contemporary novel ''Red Sorghum'' has entered public and community libraries in the U.S., showing that the structure of Chinese contemporary fiction distribution and readership in the U.S. is changing, shifting from its previous distribution primarily in universities and research institutions to the general public. (Two tables mentioned cannnot be uploaded)

'''The Reasons for ''Red Sorghum's'' Successful Transmission'''

The popularity of ''Red Sorghum'' overseas was made possible by many factors. The film of the same name is the pioneer. Thanks to the award-winning film, the translation and dissemination of the novel was promoted overseas. Coupled with the unique perspective and content of the work itself, and the translator Howard Goldblatt’s promotion and personalized translation, the successful transmission of this work was achieved.

'''The Literary Value of the Work Itself'''

Mo Yan, born in 1956 in Gaomi County, Shandong Province. ''Red Sorghum'' is based on the life of his hometown during the anti-Japanese war. Unlike other anti-Japanese literature, Mo Yan's anti-Japanese story is told from the perspective of ordinary people, which is more real and deeper. Mo Yan's literary works often portray original life with bold, mischievous depictions that resonate strongly with readers and shock them. In this novel, there is both questioning and rebellion against existing traditional values, as well as profound analysis of feudal ethics and human nature.

The theme of ''Red Sorghum'' is not only to promote the idea of living a bold, emancipated and frank life, but also to celebrate the patriotic spirit of the heroic resistance to Japan. The so-called "personality liberation" refers to the liberation of the "human" personality. Human being" is the unity of "spirit" and "flesh", "divinity" and "bestiality", "spirit" and "matter", "social man" and "natural man". Man has a "natural human nature", that is "human's" survival instincts and natural desires.

The novel ''Red Sorghum'' not only promotes the liberation of individuality, but also celebrates the tenacity and sacrificial spirit of anti-Japanese patriotism. This dual theme of enlightenment and salvation in literature is an inheritance of the May Fourth tradition. Both the May Fourth movement and the New Culture Movement happened at a time of increasing imperialist aggression against China and a sense of national crisis and the increasingly urgent historical requirement for national self-improvement, self-reliance and salvation.

'''The Pioneering Role of the Film ''Red Sorghum'''''

In today's era of new media, for many readers, they first come to the original work through an adaptation of the work, such as a film or television production. In other words, these readers get to know a literary work or a writer through a film or television work (Hao Dan 2019: 58). In fact, this is how foreign publishers and readers come to know Mo Yan and his ''Red Sorghum''. In 1988, the movie ''Red Sorghum'' directed by Zhang Yimou was released in Canada, the United States and other places. It is worth noting that not only the movie is adapted from Mo Yan's novel ''Red Sorghum'', but its screenwriting team also includes Mo Yan himself. In 1986, when Zhang Yimou decided to make the movie, Mo Yan only received 800 yuan in royalties and 1200 yuan in screenwriting fees. He would not have imagined that in the fifth year after the film's release (1993), the English translation of ''Red Sorghum'' would be published by Penguin Publishing in the United States, with a first printing of 10,000 copies. The number of its first printing is not large, but it is very rare for a contemporary Chinese writer in the early 1990s to have such a publishing opportunity and achievement in the United States. In addition, in 2004, when the American Arcade Press published Mo Yan's another work Big Breasts and Wide Hips, the publisher still mentioned the film ''Red Sorghum'' in the recommendation, which shows the role of the film in the dissemination of Mo Yan's novel.

It can be said that the translation and publication of the English translation of ''Red Sorghum'' is mainly based on the impressive international achievements of the film: in 1988, the film won the Golden Bear Award at the 38th Berlin International Film Festival, the Best Film Award, the Best Director Award, the True Novelty Award for feature films at the 5th Zimbabwe International Film Festival, the Film Critics Award at the 35th Sydney International Film Festival, the 1st Marseille International Film Festival in Morocco, and the Golden Bear Award for the Best Film at the 16th Brussels International Film Festival. In 1989, the film won the Best Film Award from the Radio Audience Jury at the 16th Brussels International Film Festival and the Silver Bear Award at the 5th Montreal World Film Festival in France; in 1990, the film was nominated for the annual prize of the GDR Filmmaker's Association for the ten best feature films of the annual Cuban Film Distribution Awards. Shortly after the film won the awards, Viking Penguin Press took the initiative to invite Howard Goldblatt to translate Mo Yan's ''Red Sorghum''. Of course, the translation of Mo Yan's work into English did not begin with ''Red Sorghum'', but prior to the award-winning film ''Red Sorghum'', Mo Yan's work had never been published in a single volume by a publisher in the English-speaking world.

'''Howard Goldblatt's Translation and Promotion'''

When it comes to the transmission of ''Red Sorghum'' in the English-speaking world, the contribution of its translator, Howard Goldblatt, cannot be overlooked. Howard Goldblatt is a well-known American sinologist and translator who has a high level of attainment in the study of contemporary Chinese literature, and has translated a large number of Chinese literary works. He was born in 1939 in California, USA. Later, while attending the U.S. Naval Officer's School, he was sent to serve in Taipei. While serving, Howard Goldblatt learned Chinese and read books to kill time, and gradually fell in love with Chinese culture. After studying Chinese at the National Taiwan Normal University for about a year, his Chinese language skills improved greatly. Later, he entered San Francisco State University and systematically studied Chinese language and literature. Because of his love for Chinese language and literature, He worked as a Chinese language teacher for one year after graduating with his master's degree. In order to continue to improve his Chinese language, he entered the Department of East Asian Languages at Indiana University to pursue a PhD in Chinese literature. In 1984, with his active leadership and assistance, ''Modern Chinese Literature'', a scholarly journal devoted to Chinese literature, was launched, with Howard Goldblatt as editor-in-chief, giving readers in the English-speaking world the opportunity to read Chinese literature, which contributed greatly to the promotion of Chinese literature.

As a confidant of Chinese literature, Howard Goldblatt has never stopped studying and translating Chinese literature for more than thirty years. His profound knowledge of both Chinese and English, good knowledge of Chinese literature, keen literary insight, and excellent translation skills have contributed to the achievement of Mo Yan, who was awarded the Nobel Prize for Literature, as well as to the dissemination of Chinese literature in the world and to the equal dialogue with world literature.

After Mo Yan won the Nobel Prize, almost everyone said that it was the translator Howard Goldblatt who made Mo Yan a success, and this is not an exaggeration. In terms of the text itself, there are two conditions for a work of contemporary Chinese literature to get the attention of publishers in English-speaking countries: one is a good story, and another is an authentic translation. A well-told story is a response to the cultural psychology and reading habits of the target readers. A good translation is very important in the translation of Mo Yan's works, because most of Mo Yan's novels have a unique Chinese historical background and profound Chinese traditional cultural connotation. Although he is known to the world literary world as a "storyteller", if the translator fails to translate the Chinese history and culture implied behind the Chinese language as effectively as possible into a language that can be understood by English-speaking readers, the transmission and popularity of these works will be difficult to achieve.

'''The Role of Publishing Brokers and Houses'''

For the works of Chinese writers to spread overseas, they must be supported and promoted by authoritative publishing brokers and publishing companies. The reason why Mo Yan's ''Red Sorghum'' is so popular in English-speaking countries is the support of his publishing agent team and Arcade Publishing.

Beijing Genuine&Profound Culture Media Co.,LTD.(hereinafter referred to as "Genuine&Profound") actually plays the role of a copyright agent for Mo Yan's works, responsible for developing the value of Mo Yan's works and planning the publication and distribution of Mo Yan's works. As the book publishing industry becomes more open and free, contemporary Chinese writers have had more knowledge of the publishing market, and some of them have realized the importance of publishing agents. A publishing agent, often called a copyright agent, is a middleman or intermediary that connects a work with a publisher. A publishing agent signs a copyright agency contract with a writer, and then helps the writer find a publishing platform for the work or an opportunity to exploit subsidiary rights related to the work. The services of a publishing agent are what Genuine&Profound provides for Mo Yan.

The uniqueness of Genuine&Profound lies in the fact that it has proposed the business model of "360°celebrity brokerage" for the first time in the industry. This service includes paper book publishing, digital rights management and promotion, promotion of film and television rights of literary works, brokerage of famous artists' artworks, promotion of famous artists' business and social activities, provision of artwork trading platforms, development and sales of derivatives, and legal protection of rights. With respect to Mo Yan's works, it believes that the value of Mo Yan is not only reflected in the publication and distribution of his Chinese works, but also in the overseas publication rights of paper books, film and television adaptation rights, digital publication rights, sales rights of calligraphy works and other subsidiary rights related to them.

The man behind Arcade Publishing, which has published five titles of Mo Yan's works in English translation, is in fact Richard Seaver, Mo Yan's most important advisor in the American publishing world. Arcade Publishing was established by Richard Seaver in 1988 to publish fiction and non-fiction literature. After Richard's death in 2009, Arcade went bankrupt and was acquired by Pegasus Publishing in July of the following year, and relaunched in 2011 under the name Pegasus, with its main focus remaining the same and the addition of some art books (Hao Dan 2019: 59). Today, Arcade Publishing has published nearly 300 authors from over 30 countries. Arcade Publishing has always been a great admirer of Mo Yan's works, and the front page of Arcade's official website has for quite some time read: Arcade and Skyhorse congratulate Mo Yan on winning the 2012 Nobel Prize for Literature". Unfortunately, Richard passed away without waiting for Mo Yan to win the Nobel Prize, but his remarkable vision and solidity as a publisher have made him immortal.

===Conclusion===
Literary works that "go global" should have both universal and heterogeneous qualities in themselves. Universality can resonate with overseas authors, while the unique local characteristics of the works excite readers' interest (Zhang Lijun, Yu Huijun 2021: 92).

Another important factor in the success of Mo Yan's overseas distribution was mentioned earlier: the overseas influence of Zhang Yimou's film. The huge market for films often plays an excellent role in advertising and rapidly promotes the translation and publication of original literary works overseas. The spread and influence of contemporary Chinese literature and Chinese films overseas actually help each other. On the one hand, this shows that outstanding literary scripts are an important basis for the success of films; on the other hand, it also shows that successful film operations will produce a chain effect that can lead to a series of related cultural industries.

In addition, in the process of Chinese literature going global the selection of translation subjects is crucial. Local translators in China do not know enough about the reading habits of Western readers and lack in-depth research on the literary publishing market, so the dissemination of works translated by them is inevitably hindered abroad. In contrast, foreign sinologists have the unique advantage of being the ideal translators for Chinese literature to go global. Local Chinese translators are more likely to perceive Chinese characteristics and outstanding literary works, while the group of sinologists has a deeper understanding of the target language readership and dissemination. The advantages of both complement each other, thus promoting Chinese literature to go out better.

In addition, nowadays, in the context of globalization, it is also very important to establish a good relationship with foreign well-known publishing institutions. ''Red Sorghum'' was released by a well-known foreign publisher, so that it could be more widely known by its target readers. The most important thing is that major publishers can get a good understanding of the market, which is conducive to the dissemination of Chinese literature in the West.

The experience of the successful dissemination of ''Red Sorghum'' shows that for contemporary Chinese literature to go global, not only is there a requirement for the quality and cultural value of the work itself, but there is also a need for reliable translators and authoritative publishing partners.

===References===
Bao Xiaoying鲍晓英. (2013) 中国文化“走出去”之译介模式探索——中国外文局副局长兼总编辑黄友义访谈录[Explorations on the Translation and Communication Model for Chinese Literature Going Out—Interview with Huang Youyi, Deputy Director and Editor-in-Chief of China Foreign Language Bureau][J]. ''中国翻译'' [Chinese Translators Journal] (5): 43-45.

Bao Xiaoying鲍晓英. (2014) 中国文学“走出去”译介模式研究——以莫言英译作品美国译介为例[Study on the Translation and Communication Model for Chinese Literature Going Out—with the Communication of Mo Yan's English Translations in America as an Example][C]. Shanghai International Studies University上海外国语大学.

Bao Xiaoying鲍晓英. (2015) 译介学视野下的中国文化外译观—谢天振教授中国文化外译观研究[The View of Chinese Culture in Foreign Translation from the Perspective of Translation Studies—A Study of Professor Xie Tianzhen's View of Chinese Culture in Foreign Translation][J]. ''外语研究'' [Foreign Languages Research] (5): 78-83.

Hu Anjiang胡安江. (2012) 再论中国文学“走出去”之译者模式及翻译策略——以寒山诗在英语世界的传播为例[The Translation Model and the Translating Strategy Revisited—with the Dissemination of Cold Mountain Poems in the English World as an Example][J]. ''外语教学理论与实践'' [Foreign Language Learning Theory and Practice] (4): 55-61.

Hao Dan郝丹. (2019) 莫言作品英译本的出版传播经验研究[A Study of the Publication and Dissemination Experience of Mo Yan's Works in English Translation][J]. ''对外传播'' [International Communications] (06): 58-60.

Liu Guozhi, Chi Changhai, Li Qingliu刘国芝，池昌海，李清柳. (2022) 英译小说《红高粱》在美国的传播与接受[Dissemination and Reception of the English Translation of Red Sorghum in America][J]. ''中国翻译'' [Chinese Translators Journal] 43(02): 59-66.

Wan Yu万聿. (2021) 中国当代文学英译概览与研究综述[Overview and Research Review of English Translation of Contemporary Chinese Literature][J]. ''复旦外国语言文学论丛'' [Fudan Forum on Foreign Languages and Literature] (02): 215-223.

Xu Jun许钧. (2012) 翻译研究之用及其可能的出路[Translation Studies in China: Its Functions and a Possible Direction for Its Further Development][J]. ''中国翻译'' [Chinese Translators Journal] (1): 5-12.

Xie Tianzhen谢天振. (2019) 译介学:理念创新与学术前景[Medio-translatology: Its Innovative Concepts and Academic Prospects][J]. ''外语学刊'' [Foreign Language Research] (04): 95-102.

Xu Wen徐稳. (2013) 全球化背景下当代中国文化传播的困境与出路[The Dilemma and Solution of the Advanced Culture Transmission under the Background of Globalization][J]. ''山东大学学报（哲学社会科学版）'' [Journal of Shandong University(Philosophy and Social Sciences)] (4): 96-103.

Xiao Yingying萧盈盈. (2012) 中华文化走出去的现状分析与发展思考[Analysis of the Current Situation and Development of Chinese Culture Going Out][J]. ''现代传播'' [Modern Communication] (1): 84-86.

Yu Hong于虹. (2021) 译介学与中国现当代文学在美国的翻译与传播[Medio-translatology and the Translation and Dissemination of Contemporary Chinese Literature in America][J]. ''外语学''刊 [Foreign Language Research] (02): 112-115.

Zhang Lijun, Yu Huijun张丽君，余慧君. (2021) 有声与无声——莫言《红高粱》海外传播的启示[Sound and Silence—Enlightenment of Mo Yan's Red Sorghum's Overseas Communication][J]. ''文化创新比较研究'' [Comparative Study of Cultural Innovation] 5(21): 89-92.

===Terms and expressions===
《红高粱家族》 ''Red Sorghum''

诺贝尔文学奖 the Nobel Prize for Literature

安德烈·勒菲弗尔Andre Lefevere

三要素理论 "three elements" (patronage, ideology and poetics)

葛浩文 Howard Goldblatt

文革 the Cultural Revolution

《枯河》 ''Dry River''

《天堂蒜薹之歌》 ''The Garlic Ballads''

企鹅出版公司 Penguin Publishing

《丰乳肥臀》 ''Big Breasts and Wide Hips''

柏林国际电影节 Berlin International Film Festival

津巴布韦国际电影节 Zimbabwe International Film Festival

悉尼国际电影节 Sidney International Film Festival

马拉什国际电影电视节 Mar del Plata Film Festival

布鲁塞尔国际电影节 Bruxelles International Film Festival

蒙彼利埃国际电影节 Montreal World Film Festival

《中国现代文学》 ''Modern Chinese Literature''

北京精典博维文化传媒有限公司 Beijing Genuine&Profound Culture Media Co.,LTD.

拱廊出版公司 Arcade Publishing

理查德·西维尔 Richard Seaver

===Questions===
1. What's the "three elements" put forward by Lefevere?

2. How many American books has China introduced in a year recently?

3. When was Mo Yan awarded the Nobel Prize in Literature?

4. Which novel is the most translated and reprinted work of Mo Yan?

5. How many stages are there in the history of contemporary Chinese literature in English-speaking countries?

6. What are the reasons for ''Red Sorghum's'' successful transmission?

===Answers===
1. Patronage, ideology and poetics.

2. About 150.

3. On October 11, 2012.

4. ''Red Sorghum''

5. Four.

6. The literary value of the work itself; the pioneering role of the film ''Red Sorghum''; Howard Goldblatt's translation and promotion; the role of publishing brokers and houses.

20220630 Classics 2

2022-07-06T15:38:59Z

Liu Shuangying: /* 英语笔译刘双英 Liu Shuangying 202170081585 */

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==英语笔译李思源 Li Siyuan 202170081575 CE==

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

<center>Li Siyuan</center>

===Abstract===

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

===Key words===

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

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

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

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

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

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

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

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

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

===References===
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*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
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==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'''2.Some Core Concepts'''

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

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

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

'''2.2 Three-dimensional Transformation'''

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

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

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

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

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

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

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

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

'''1. Linguistic Dimension'''

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

Example 1:

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

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

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

Example 2:

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

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

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

'''2. Cultural Dimension'''

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

Example 3:

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

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

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

Example 4:

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

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

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

Example 5:

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

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

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

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

'''3. Communicative Dimension'''

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

Example 6:

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

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

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

Example 7:

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

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

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

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

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==英语笔译李欣 Li Xin 202170081577 CE==

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

<center>Li Xin</center>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

==英语笔译李颖 Li Ying 202170081578 MW==

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

<center>Li Ying</center>

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

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

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

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

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

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

2.A Brief Introduction to The Moon and Sixpence

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

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

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

3.A Brief Introduction to the Translater and Translating Verisons

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

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

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

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

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

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

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

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

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

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

1.The Translator’s subjectivity

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

2. Factors of Affecting Translator's Subjectivity

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

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

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

1.Translator's Subjectivity in Semantic Comprehension and Interpretation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)

陈译：他尾随我进入公寓。（P180）

李译：他跟在我身后，紧贴着我走进了房间。（P179）

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

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

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

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

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

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

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

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

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

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

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

4. Translator's Subjectivity in Language Style

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

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

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

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

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

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

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

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

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

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

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

<center>Li Yuan</center>

===Abstract===

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

===Key words===

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

===Introduction===

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

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

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

===Literature Review===

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

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

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

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

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

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

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

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

First Phase: 1905 to the 1930s

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

Second Phase: the 1940s to the 1980s

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

Third phase: the 1990s to present

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

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

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

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

===Conclusion===

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

===References===

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

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

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

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

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

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

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

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

<center>Liao Shiyun</center>

===Abstract===

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

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

===Key words===

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

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

===Literature Review===

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

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

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

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

Prefaces and footnotes

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

De-gendering

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

Supplementation

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

Hijacking

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

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

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

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

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

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

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

De-gendering

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

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

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

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

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

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

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

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

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

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

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

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

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

Footnote

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

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

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

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

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

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

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

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

Supplement

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

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

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

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

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

===References===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

<center>Liu Chang</center>

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

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

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

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

(1)General Standards

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

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

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

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

(2)Special Standards

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

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

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

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

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

(1)Analysis of Ancient Style Music

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

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

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

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

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

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

（2）Analysis of Pop Music

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

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

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

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

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

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

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

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

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

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

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

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

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

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

<center>Liu Lele</center>

===Abstract===
Appropriate language materials are need to be translated into English and spread globally, so as to promote the overseas dissemination of Chinese culture. Based on the the comprehensive consideration of communication content, it can be seen that Dragon Raja, an online novel written by jiang Nan, is smilar to the fantasy novels which are a hit among readers in the western market, and it also has a popular narritive structure. Although it is a novel, its highlight lies in the plot rather than the style, so it can be translated into English using communicative translation strategy and machine translation, and published on Wuxiaworld, a popular online novel platform in the US. Therefore, it is feasible to take Dragon Raja as a translation material for the international communication of Chinese culture.

===Key words===
Dragon Raja; translation material; communication; fantasy

===Introduction===
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.
===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

===Communication Value===
It is true that online literature generally does not have profound ideas, rich cultural values, exquisite art forms and beautiful literary language, which we expect most to go global. It is these parts of Chinese culture that always find hard to "go global" (封寿炎, 2019). Viewing from the popularity of Li Ziqi's video on Youtube, the worldwide popularity of Japanese anime One Piece and Naruto, and the popularity of Kpop in European and American countries, cultural exports largely rely on low-level cultural forms.
Important characters in the first two books of the Dragon Raja series, such as the black dragon Nidhogg, Jormungandr, the king of earth and mountains, and Odin, King of the gods, are borrowed from Norse mythology; And the story of the third book is set in Japan, the main characters Minamoto Chisei, Minamoto Chime and many other characters are from the Japanese myth Ancient Events. On the basis of Nordic mythology and Japanese mythology, Dragon Raja draws a grand picture of the world and forms a huge world outlook. Although the settings of these cultural elements are only superficial, these novel cultural elements presented in simple words can really attract readers, thus helping to stimulate foreign readers' interest in traditional Chinese culture and the daily life of Chinese people, and the theme of the novel focuses on youth and adventure, which meets the emotional needs of teenagers and even adults, and conveys to readers good qualities and values of human being.
Although the characters of Dragon Raja do not directly convey the elements of Confucianism, Buddhism and Taoism in Chinese culture, such as Yin-yang, Tao, shu and Qi, the characters and their daily life can reflect the features of many Chinese teenagers and families. Moreover, language itself is a component of culture. From this point of view, the mutual transformation between languages is cultural communication. Dragon Raja is written in Chinese, the work naturally contains rich Chinese culture. It is helpful to attract foreign readers to know more about China.

===Content of Communication===
Dragon Raja is a series of long fantasy novels created by Jiangnan. The work tells the story of a young man, Lu Mingfei, who receives an invitation from kassel College, a mysterious college in the outer suburbs of Chicago. From then on, he sets foot on the magical course of fighting with dragons. On September 1, 2009, the series began to be serialized in the magazine Manke , which was first published on the same day. The first to the fourth books were successively published by Changjiang Publishing House from April 2010 to October 2015. The fifth book was serialized on all platforms of China Literature Group from May 15, 2018.

3.1 The Theme Conforms to the Preference of the Western Market
At the macro level, translation activities always take place and function under a certain social and cultural background. The British and American cultural markets prefer science fiction. Currently, the best-selling work by A Chinese writer in the British and American markets is the sci-fi novel the Three-Body Problem. The Three-Body Problem trilogy started with The English version. After seven years of development, it has been exported to 28 languages and sold more than 3 million copies in foreign languages. This shows the importance of science fiction in the hearts of Western readers. Many classic Chinese literary works, even traditional martial arts novels, lack the corresponding cultural literacy for foreign readers. After translation, Tian Long Ba Bu, one of Cha's representative works on traditional martial arts, received less clicks on overseas novel reading platforms than online fantasy novel Coilong.
"Dragon" in the construction of a "second world" is the Chinese style western-style overhead and magic fusion of two different types of work, draw lessons from the Nordic myth and other world system framework, formed a unique and marvelous fantasy epic and Oriental elements throughout, showed the failure of lonely child LuMingFei slew a dragon in the "dragon world" counter attack. As a localized fantasy novel, this emerging literary genre shapes an overhead world, closely related to sci-fi, fantasy and martial arts novels with a strong fantasy nature, yet not restricted by science and humanities. It is not limited by humanities, which means that the cultural load and obstacles of Dragon clan will be greatly reduced in the process of reaching foreign audiences. Science fiction, TV series and movies are popular in the West. Wuxia is a unique charm element of Chinese culture. The combination of the three forms the content advantage of the Dragon Clan as a material selection for translation.
Dragon is a kind of magical animal, it does not exist, but there are legends about it all over the world. "Game of Thrones" and "How to Train Your Dragon" have made dragons a hot topic in the West. Nowadays it is difficult to come up with a unified definition of the image of the dragon. The dragon is both good and evil, but no one can deny the powerful power of the dragon. The image of dragons in the modern West is not entirely negative, with Wales, for example, still using the legendary heroic red dragon as its national flag. With the close communication between Chinese and Western cultures in the information age, the implication of "dragon" in the west has become positive and positive.
It is worth mentioning that in The Dragon Race, the name and image of the dragon refer to the setting in The Nordic mythology, which is more similar to the violent and powerful image in the Western culture rather than the auspicious symbolic meaning in Chinese culture. Therefore, it can greatly reduce the strangeness of European and American readers when reading this novel.

3.2 The Storyline is Popular
In addition to cultural background, the depth of a literary work's story is also a barrier to reaching an audience. Some people jokingly refer to classics as "things that everyone knows, but nobody reads." China's four great classics, really read how many people, let alone foreign readers. In addition to the cultural load and low knowledge content, the story is highly readable, which is one of the strengths of Dragon Clan.
By analyzing the story lines of harry Potter, Lord of the Rings, Game of Thrones and other popular fantasy novels in the Western market, it can be found that their essence takes the adventure of the "weak" in the fantasy world as the main narrative clue, and constantly creates conflicts in the linear and closed narrative structure as the main narrative strategy. The protagonist's growth in a new space and time different from reality is taken as the narrative theme (Li Jianxin, Yu Kunxian, 2021). As "dragon clan" publishing house of a marketing language: the East "Harry Potter". Although the two novels have similar early story development, they have their own unique world structure. "Dragon" hero Lu Ming is not a child by his parents foster in his uncle's house, and "Harry Potter" hero Harry is living in the uncle's house; Both characters embark on a magical journey based on an admission letter; In Dragons, Kassel Teaches dragon slaying, while in Harry Potter, Hogwarts teaches magic. The roots of both magic and language are bloodlines. However, the subsequent dragon-slaying and the development of the characters make dragons radically different from Harry Potter.
Ordinary high school students Lu Mingfei set foot on the adventure of dragon slaying journey, his daily life, personality in addition to adding some fantasy factors and ordinary people are not too different, so can let the same as readers have a sense of substitution and stimulation. The ups and downs of the plot, rich and strange imagination, each charming character personality, greatly meet the young people's curiosity about the world and seek resonance in the book psychology.

===Translating Process===
As a fantasy novel integrating Chinese culture, Japanese culture and Nordic mythology, Dragon Clan contains a lot of culture-loaded information, but these words and expressions have been translated, so the translator can refer to the translation of Nordic mythology and Ancient Events when translating. For example, the word "yan Ling" in the book, whose function is similar to the magic spell in Harry Potter, is actually not owned by Chinese, but borrowed from Japanese by the author, from the Japanese myth "Ancient Events".

4.1 The Difficulty of Translation
Even when faced with some difficult cultural expressions, translators can flexibly deal with them by using substitution and interpretation. People from different countries, nationalities and regions all live on the same earth. The commonness of people's biological attributes, social attributes, humanity and even psychological and emotional experiences is the main aspect of contradiction. So culture is basically translatable.

4.2 Translation Strategy
Stylistic type is the most important, objective and stable basis to determine the diversification of translation standards. According to Peter Newmark, text has three basic functions. According to its main functions, translation can be divided into communicative translation and semantic translation. The text type determines the translation method. Communicative translation is mainly used for texts with prominent information functions, such as tourism texts, advertisements and news, which emphasize the realization of the communicative purpose of the target text. Therefore, translation should not stick to the expression form of the original text, but should follow the form popular with the target language readers. However, semantic translation is mainly used in the texts that focus on the expression function. For the five types of serious literary works, such as poetry, prose, drama and novel, the content and form of the translation should be consistent with the original text, and the meaning and form of the original text should be reproduced as much as possible, because the form of these works is also a part of literary aesthetics.
With the explosive development of network literature, the themes of network articles are various and emerge endlessly, and some of them are even difficult to define precisely what type they belong to. The Dragon Clan can be said to be a localized fantasy novel. Although it is called "novel", it is also a new product of the Internet. Strictly speaking, it does not belong to the traditional serious literary novel. However, it is not reasonable to categorize The Dragon clan as an informational text, because it also has the author's unique writing style. The main attraction of The Dragon clan is the story, not the writing. Whether the words are added, deleted or repaired does not affect the readers' understanding and love for the story. The main task of the translator is to convey the story rather than show the literary talent. Therefore, communicative translation can be adopted as the main strategy in translation.

4.3 Trial Translation
(1) 路明非在屏幕上无奈地打出“GG”（“GG”，指“Good Game”，在竞技类游戏中称赞对方玩得好，也是认负的意思），而后切出了游戏。屏幕上显示的最后一个场景，是十二艘人类巡洋舰以华丽的大和炮聚焦射击，把他的母巢化作了一滩血水。
Lu mingfei reluctantly typed "GG" (" GG "refers to" Good Game "in a competitive Game) on the screen before cutting out the Game. The final scene shown on the screen was twelve human cruisers firing in focus with their magnificent Yamato guns, turning his brood into a pool of blood.
(2) 他输掉了今天的第六局，胜负比例是零比六，这一次他坚持到了22分23秒才被拿下，不过最终还是被拿下了，对方的微操很好，用的又是人类，人类的机枪兵在这个游戏里是个变态的兵种，出枪速度为零，站住了拔枪就射，收枪就跑，路明非的小狗追不上，在路上就一只只被打爆了。
He lost his game for today 6-0，with round 6 hanging/lasting for 22 minutes 23 seconds. His opponent is very good at micro control, with the use of Terran whose riflemen，capable of shooting in an instant，is extremely strong in the game. stood still pull out a gun shoot, gun ran, Lu MingFei's puppy can catch up, thus getting beaten up one by one.
路明非没啃声儿，切到QQ上，那个戴棒球帽的女孩头像还是灰色的，一动不动。对方没上线，又白等了。他抓了抓脑袋，有点失望。另一个头像倒是跳了起来，是个长得很欠的熊猫。
Lu Mingfei did not answer. Switch into QQ, the profile of a girl wearing a baseball cap stayed时态gray and quiet there. She wasn't online, and he was just waiting for nothing. Scratching his head, he felt a little upset. The other profile was active though，a very disturbing panda.
　　大脸猫头像跳闪，“诺诺”上线。
The profile of a big-face cat flickered, which means NONO got online.
路明非犹豫了一下，“是你？”
“Is that you?”hesitated a little, Lu Mingfei asked
“嗯，陈墨瞳。”诺诺的回答显得懒洋洋的，“没事上来打两盘。”
“Yeah,it’s me, Chen Motong.”She said carelessly,”Got no better things to do than some gaming.”
“你怎么知道我的ID？”
“How did you get my ID?”
“人肉搜索啊，嘿。你居然用‘明明’这种ID，像女孩似的，还有‘夕阳的刻痕’……你是人妖么？”
“Cyber manhunt. Hey, you took Mingming as your ID. Girlish! And “sunset”,are you sure you are not a ladyboy?
“这都能人肉到？千万保密，那是我来逗我弟玩的。”
“You even knew this?! Please keep this secret for me. That’s for playing some little tricks on my cousin.”
“开玩笑的啦，诺玛搜索到的，这对诺玛小菜一碟。你星际打得不错。”
“Just joking. It’s Noma, our intelligent computer, that got all this information. It’s a piece of cake for her. By the way, you are good at Starcraft.”
“行了，我都输给你了。”
“Come on, I lost to you.”
“是我输，诺玛和我一起打的，我们两个控制一家。最后我知道你在升三级基地，因为诺玛偷偷开了地图，看见了。”
“I should be the loser. I played the game with the help of Noma.
“作弊死全家！”路明非打出这句话。
“Cheaters will have his family completely died.” Lu Mingfei type this sentence.
只是随手，这话在群里大家随便说，没谁真的往心里去。
It’s just an online phrase that were often used and no one would take it seriously.
“我家只有我一个人。”诺诺回复。
“I’ve already got no family to lose.”answered Nono.
路明非愣了一下，“对不起。”
Lu Mingfei was stunned a little, and said,”sorry.”
“这有什么对不起的？”诺诺答得很平淡，“玩一盘？”
“Nothing to feel sorry about.”Nono said carelessly still,”Want a game?”
“没心情。”
“not in the mood.”
“失恋了？”
“Broke up with your girlfriend?”
路明非浑身一个激灵，诺诺像是个小巫婆似的，看穿了他的一切，叫他完全无处容身。
“Lu Mingfei was shocked. Nono’s like a little wizard, seeing through everything of him.He could hide nothing in front of her.
“还没有……我没有女朋友，当然不会失恋了，姐姐你想怎样啊？”他输入。
“How can I break up with my girlfriend when I don’t have a one? So what do you want? Big sister!”He typed.
“姐姐叫得还蛮甜的，”诺诺扔出一个龇牙咧嘴的笑脸，“来吧，说说到底怎么回事，我也许能帮上忙。”
“That’s sweet.”Nono sent him a grinning smile,”Alright, let’s hear it.Maybe I can help you.”
“你帮什么忙？你又不认识她。”
“I doubt that.You don’t know about her.”
“我是不认识陈雯雯。”小巫婆诺诺回复得极快。
“Yeah, I do know nothing about Chen Wenwen.”
“你到底知道多少？”路明非忽地很惊恐。
“How much do you know?”Lu Mingfei suddenly got frightened.
“太多了。”
“too much.”
“你们……到底是谁？”路明非手有点抖。
“Who are you?”Typed Lu Mingfei with trembling fingers.

===Translating Platform===
At present, the translation and introduction of traditional Chinese literary works often rely on paper publishing for transmission, while British and American publishers are very cautious in selecting foreign literary works for translation and publication. According to the Financial Times, between 1990 and 2012 only 4% of UK publications were translations (Jack 2015). Generally speaking, translated books are on the edge of a country's book publishing, and the proportion is much lower than that of local books. For example, the American book market is the largest in the world, but translated books only account for 3% of the total books (Fu Xiping 2015:18). Compared with classic books such as A Dream of Red Mansions, network literature is born and spread through the network platform. The overseas dissemination of Dragon Clan does not need to go through strict selection of foreign publishing market, which is also one of its advantages for selecting materials for foreign translation.

5.1 Online Literature Translation Website: Wuxiaworld
China's online literature has become an important force for "culture going abroad," according to the 2019 Urban Reading Report of "Ideological and Cultural Big Data Lab" jointly released by Guangming Daily, Tencent and JD.com. By 2018, nearly 70 Foreign language versions of Chinese web novels had attracted more than 10 million hits, attracting more than 20 million visitors. These readers spread across more than 20 countries and regions, mainly in Southeast Asia, Europe and America. The vigorous development of contemporary network literature has laid a good foundation for the overseas dissemination of Dragon Clan. Currently, there are more than 100 online literature translation websites in the world, among which Wuxiaworld is worth mentioning. Founded by Chinese-American Lai Jingping, the website is now the world's largest platform for translating Chinese novels into English. At first, it mainly provided translation and introduction of wuxia novels, but now almost all types of online novels from all countries are serialized. In terms of specific operation, we can serialize the translation of "Dragon Clan" by chapter to restore the experience. Rather than having the translator complete the translation and then upload it to the platform.
"Coiling Dragon" is a fantasy novel translated by Lai Jingping, founder of Wuxiaworld.com, which has won high praise on the website. It seems that the translator has achieved functional equivalence to a large extent, and many foreign readers' views on The novel are similar to those of Chinese readers. Therefore, the platform translation and communication strategies of Dragon Clan can be used for reference in Coiling Dragon: both take dragons as the main element; Secondly, they both incorporate foreign cultures. Chairman MAO once said, if you do not occupy the position of cultural propaganda, the enemy will. Currently, serialized Korean online novels on the site have begun to equal the popularity of Chinese online novels.

5.2 Game
Dragon Fantasy is an online role-playing game developed by Dragon Entertainment and adapted from a dragon novel. The mobile game hit 10 million registered users in less than half a month after its launch. According to the financial report released by Zulong Entertainment, the global accumulative revenue of Dragon Fantasy exceeds 3 billion yuan, and the global accumulative registered players exceed 32 million. Dragon Fantasy, which entered the Japanese market in 2020, soon topped the free list on Google Play in Japan.
In this mobile game, players can take on one or more characters, grow and level up in the world view created by the game, and experience the adventures and love stories of the Dragon novels through a series of gameplay story quests and challenges. The linkage between the game platform and the novel reading platform is conducive to the expansion of the overseas audience of Dragon Clan, the development of more products, from a novel to an IP similar to Harry Potter, and the realization of a long-term overseas communication effect.

===Conclusion===
At present, the overseas dissemination of Chinese culture has a long way to go, one of which is the selection of translation materials as the carrier of cultural information. As a popular fantasy novel combining Chinese and Western cultural characteristics, Dragon Clan has a popular story structure popular to the public, which has great potential for overseas dissemination. Therefore, in the initial stage of overseas dissemination of Chinese culture, it is more appropriate to select translation materials.

===References===
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.

==英语笔译刘双英 Liu Shuangying 202170081585==
<center>'''The Analysis of the Chinese Elements and Culture in the Film ''The Wandering Earth'''''</center>

<center>Liu Shuangying</center>

===Abstract===
This paper consists of four parts. The first part is a brief introduction to the content of the film The Wandering Earth; the second part is an analysis of the Chinese elements appearing in the film, mainly including the authentic language and expression, the color red, iconic geographical architecture icons and other things with Chinese cultural symbols and festivals; the third part is an analysis of Chinese culture in the film, mainly about family culture, collectivism and the community of shared future for mankind; the last part is a summary of the whole text.
===Key Words===
The Wandering Earth; Science Fiction Film; Chinese Elements
===Introduction===
As China continues to open its door more wider to the outside world, while learning from Western culture that is worthy for reference, it also realizes the importance of disseminating its own culture. The development of a country's film and television will also play a role in spreading its own culture. In the strategy of "Going abroad" of Chinese culture, the role of a well-crafted domestic science fiction movie in spreading Chinese culture should not be underestimated. Science fiction films seem to resonate with people all over the world because the subject is often a topic of concern to all. To some extent, the science fiction movie represents the industrial development level of a country, nation or region, and is a symbol of industrial strength. (Han Guidong 2020, 128) When it comes to science fiction blockbusters, people will naturally think of Hollywood blockbusters, such as 2001: A Space Odyssey(太空漫游) and Blade Runner 2049(银翼杀手2049), etc. The fact that these films are remembered by so many people is inseparable from their wonderful contents, as well as the application of various high technologies and superb filming techniques presented in them, which is exactly where Chinese science fiction films are lacking. But with the continuous improvement of China's comprehensive national power, the 2019 domestic science fiction film The Wandering Earth(流浪地球) was released during the Chinese New Year, and achieved a great response both at home and abroad, and successfully took the crown of "the first Chinese hard science fiction film in the history of Chinese movie". The success of this film has also successfully brought Chinese culture out of the country, allowing more people to experience Chinese culture, which has certain significance and inspiration for Chinese culture to "go out".
===A brief introduction of film The Wandering Earth===
The Wandering Earth is a film adapted from Liu Cixin's science fiction of the same name, directed and produced by Chinese director Guo Fan(郭帆), and was successfully released in mainland China on February 5, 2019. The story is set in 2075, where the entire solar system, including the Earth, will be swallowed by the sun in a short time due to its rapid aging expansion. In order to save themselves, human beings put forward an adventurous plan called "The Wandering Earth", that is, exerting the world's efforts to build tens of thousands of engines and steering engines on the surface of the Earth to propel the Earth out of the solar system, hoping to spend 2,500 years to escape from the solar system with the Earth together, running to the Proxima Centauri to find a new home for humanity, located 4.2 light years away! From the point of view of the plot, the film The Wandering Earth relies on the original background of the original and makes a second recreation, but the core spirit of the original is shown to the fullest. While the original story deals with the death and choices of the entire human race, the film focuses on the experience of a Chinese rescue team that sets out from Beijing delivers flints to the steering engine on "Sulawesi Island"(苏拉威西岛) so that the engine can run again, and makes a last-ditch effort to prevent the Earth from colliding with Jupiter. The story features Chinese astronaut Liu Peiqiang (played by Wu Jing), his son Liu Qi (played by Qu Chuxiao), his father-in-law Han Ziang (played by Wu Mengda), and Liu Qi's younger sister Han Duoduo (played by Zhao Jinmai). The film has left a splendid and brilliant mark in the history of Chinese film with a cumulative box office of 4.655 billion RMB within 90 days of its release, a perfect answer to the seven-year-long preparation behind it.(Guo Lei 2022, 105)
===Chinese elements presented in the film The Wandering Earth===
Since the launch of reform and opening up, it has become a trend to implant Chinese elements in movies, such as Legend of Deification(姜子牙) and Operation Red Sea(红海行动), which contain scenes, costumes and architecture with defining Chinese characteristics. At a time when the soft power of movies is more and more related to national image and competitiveness, it is especially important to make good use of digital movies to show Chinese elements, convey Chinese stories and shape a good Chinese image. Although Chinese elements are used in many films, there is no clear definition of Chinese elements in academic circles. Some scholars elaborate the core of Chinese elements from the conceptual level, defining "Chinese elements" as "the intangible ideological essence that has been developed and precipitated in China for thousands of years".(Jia Lijun, 2007, 138)
Regardless of their specific definitions, Chinese elements must carry uniquely Chinese features in terms of geographical symbols, clothing, colors, food, special events or festivals, etc. For a long time, the Chinese science fiction film and television market has been dominated by foreign science fiction works, and there are very few domestic science fiction films. Although there are Chinese elements in foreign science fiction films and television, these are impressions on China in others’ eyes, not the self-expression of the Chinese. Adding Chinese elements to domestic science fiction films not only enables self-expression and presentation, but also allows the outside world to understand Chinese culture, as well as conveying our world view and development outlook from China's own perspective, so that the works can gain wider cultural recognition.
Therefore, the next section will analyze the Chinese elements presented in the film The Wandering Earth, mainly concerning several aspects such as language, colors, iconic architecture, food, and related folk activities.
======Idiomatic language expressions======
Language is one of the most important tools to carry human culture, a culture that flows in the oral language.(Liu Qianling 2020, 59)
In this film,there are people from different countries and regions who speak their own language, so their communication rely on synchronized translators. The Chinese language that appears in it is very authentic, especially the conversation between Liu Qi and his younger sister Han Duoduo at the beginning. During Liu Qi's escape from the adjacent city in Beijing with Han Duoduo, Duoduo teases Liu Qi by saying, "Look at yourself. Is it your first time outside, too?", and when Han Ziang gets to know that Liu Qi is caught driving his delivery truck and comes to rescue the siblings from the Jinan detention center, the detention center staff uses the phrase "someone’s getting bailed”(来捞人了). The word "捞人" is of a slang nature, but when it is translated into English, the witty effect disappears. In the film, the characters' nicknames are also a play on words based on Chinese characters. For example, Han Duoduo calls Liu Qi（刘启） "Hukou"(户口) because the word "Qi"（启） can be split up to "Hu"（户） and "Kou "（口）. These languages can only be clearly understanded by people with Chinese cultural backgrounds and then smile self-consciously.
In addition, when starting the carrier, the system will automatically broadcast before driving, "Beijing No.3 Transportation Division reminds you. Routes are countless. Safety is foremost. With unregulated driving, your loved ones might end up in tears". These slogans are as catchy and emotional as those in our daily life, adding to entertaining and vividness. These authentic languages are the subtle presentation of Chinese elements, making science fiction movies colored with Chinese characteristics.
======The meaning of scarlet color======
With the increasingly frequent exchanges and interactions among various countries, people around the world have few knowledge about the Chinese people's love for the color red. As a highly saturated color, red is given the meaning of festivity, reunion, liveliness and power in the context of Chinese culture. In China, many red elements can be seen in many festivals or places, and in traditional Chinese weddings, the couple's clothes and bedding are all red. All of these can show the special meaning of red that is unique to the Chinese people. In the movie The Wandering Earth, there are many rescue workers wearing red protective clothing. Including Liu Qi and Han Duoduo when they sneaked out of the adjacetn city under the ground, they also wore red suits to the surface.
The Chinese red color in The Wandering Earth breaks the stereotype that science fiction films only exist in cold technological blue, distinguishes itself from the original Western science fiction films, and presents Chinese aesthetic culture and Chinese values in the most intuitive and unique way.(Lv Menghan 2021, 110)
When the heroes in bright red protective suits go forward in the cold ice, the eye-catching red color easily attracts people's attention and makes viewers feel the vitality and spirit of Chinese people's fearless and tenacious struggle. When people see red, they will think of the sun and fire with an feeling of warmness, excitement and enjoyment. With its deep cultural connotation, red can present a unique Chinese flavor in the film.
======The defining geographical buildings’ icons======
The inclusion of the country's unique architectural icons in the film can create a visual feast for the audience and trigger their emotional resonance, giving them a sense of familiarity. In the film The Wandering Earth, many iconic geographical icons of China are reproduced, thanks to the continuous development of digital technology in China. For example, in the frozen world presented in the film, there is a frozen Shanghai, which the audience can recognize by the Shanghai Oriental Pearl Tower, a building that, like Big Ben in the UK and the Eiffel Tower in France, is instantly recognizable to the audience. Also in the film, not only are there more extensive icons of geographic architecture, such as the Great Wall of Beijing, Jinan Station, the Olympic building in 2044 Shanghai and the five Olympic rings and other such elements of the desolate landscape under the doomsday, but also involve the regularly-visited playground of people's daily live, such as Wangfujing(王府井), a shopping complex, which is a common, relatively large and comprehensive shopping mall in everyday life in China. All of these buildings, large and small, naturally incorporate Chinese elements into this science fiction film. This is also a great breakthrough for Chinese science fiction films, because in previous science fiction films, such as Visiting Shanghai After Sixty Years(1938)(六十年后上海滩) by Yang Xiaozhong, the bold imagination of the future of Shanghai was almost always referenced to the western cosmopolitan cities. During that period, devoid of the supporting of powerful technology, the only way to imagine the Chinese city was by referring to the West, which was developing faster than itself. Compared to the "unfamiliar" Western world, the familiarity of the spatial features was more empathetic to the audience, first experiencing the physical immersion brought by the technology and then the psychological immersion. (Lv Menghan 2021, 109)This is something that we, as viewers, know very well.
======Festivals and things carried Chinese cultural symbols======
At the beginning of the film, it is clear that the story takes place at the time of the Chinese New Year. The common memory of Chinese New Year is that it is a joyful time for every Chinese to celebrate the reunion of their family. This holiday is like the Christmas for Westerns. But because of the mission, Liu Peiqiang, also known as Liu Qi's father, has not been able to return from the space station. But if the situation hadn't suddenly changed, it would have been time for Liu Peqiang to return and be reunited with his son. The setting of this most important Chinese Spring Festival in this films also shows the yearning for home and the desire to be reunited with family. No matter when, home is always the warmest haven in people's hearts. Home has a very special meaning in China, as the saying goes, "Home is the smallest country, and the country is made up of millions homes".
In order for people to survive, an adjacent city was built under each engine, and even though the outside world is desolate, in this film, people in the underground city still live, work and study as usual. The director of The Wandering Earth believes that the place where Chinese people live must seem "rich in flavor of life", "even if the outside is cold and stern, Chinese people are still having barbecues, performing lion dance, playing mahjong, living their own life, which is in line with the atmosphere and flavor of Chinese life."(Shuo Fang 2019, 52)
These scenes with strong Chinese characteristics will not only resonate with Chinese viewers, but also spark the interest of the majority of overseas viewers. In the underground city, there are also the sounds of mahjong playing and street hawking in the film, all of which are very typical elements of Chinese sound. This is a very different national aesthetic style from Western science fiction films, which usually present a cold and mechanized audiovisual space with a sense of detachment, while domestic science fiction films in the new century emphasize the creation of a real life atmosphere and a warm spiritual state in the science fiction space.
Chinese knots appear several times in Liu Qi's room, the street along the mall Wangfujing, the driving room of the transport truck and Liu Peiqiang's bed on the space station, symbolizing the good luck and wishes of the people. In addition to being an ornament of daily life, the Chinese knot is also given a nostalgic meaning in the film, and is closely linked to the story of "going home" later on.
The Chinese element of liquor also appears in the film. When Liu Peiqiang is about to return to his family after finishing his mission, his best friend and workmate hands him a bottle of liquorwhite wine to congratulate him. In China, wine is often used as a tool for socializing, as friends often say, "It's all in the wine"(都在酒里了) and "Good feelings, one swallow"(感情深一口闷) to express the deep feelings between the two parties. In the second half of the film, as the space station insists on escaping with all the station personnel and the seeds of fertilized eggs and plants stocked in advance, Liu Peiqiang ends up using the very white wine that his workmate gave him to blow up the robot Moss, making a coherent plot in the storyline.
During Liu Qi's escape from the undeground city with Han Doduo, they had to wear special protective clothing before they could go out, so they took something of value and rented protective clothing from others, and the seller began to hunt for them after realizing that they would not be returning any more. During this chase, because it happens to be Chinese New Year, there happens to be a lion dance performance on the street, which is an excellent Chinese folk art. The lion dance is considered to be an auspicious object to ward off evil and avoid harm, and every festival or major event will have a lion dance to cheer, and the dance method and form will vary from place to place. In addition to creating plot conflicts, folklore elements are used in the film narrative to influence the direction of the plot. It also serves to drive the development of the plot.(Long Jiali 2020, 32)
On the surface, this is the use of traditional Chinese elements, but if we look deeper, it actually has another function. The film classically reproduces this Chinese element, and it is because of this performance that the lion dance team stops the chase for Liu Qi and Han Doduo's party, and they are able to successfully escape from the underground city. Thus, the story can continue to develop.
===Chinese culture presented in the film The Wandering Earth===
With the development of globalization, culture, as an important component of national soft power, has emerged as an increasingly important value. Strengthening foreign cultural communication and enhancing the discourse right of Chinese culture in the world cultural communication is an important guarantee to enhance the national soft power. When spreading its own culture, it must be based on its own world view and development concept, not arbitrarily catering to the tastes of others, so that the country's most deepest and the most authentic culture can be transmitted to the outside world. Instead of presenting the old, mysterious and backward East in the so-called "Orientalism" in the European and Americans’ eyes, or the phenomenon of "self-orientalization" and "othering" will be endless.(Zhang Gan 2022, 16)
The cultural communication of film and television products should not only consider whether the story construction is reasonable, but also whether the national culture can be successfully spread out and successfully attract the audience, which is the key to the cultural communication of domestic science fiction films. Based on the national spiritual core, the film expresses its vision on the world by showing the excellent culture of the nation, and demonstrates the reflection on the future of human beings. The Wandering Earth makes a success in this aspect, that is, through the story of searching for a new home for humanity, it embodies the devotion to family and country, the spirit of collectivism in the excellent Chinese traditional culture and the new values of a community of shared future for mankind advocated by the Chinese government. This is a Chinese interpretation of the future destiny of mankind. Therefore, domestic science fiction films must firmly establish cultural confidence, avoid empty contents, strengthen the presentation of the spiritual core of the film, and give the whole film a certain depth and connotation, so as to attract the attention of people around the world, and at the same time convey to them the valuable culture of our own country, thus successfully realizing the strategy of "going abroad" of Chinese culture.
======Chinese attachment to home and homeland======
Unlike Westerners who emphasize the independence of individuals, Chinese people are more inclined to family and kinship. At the beginning of the story, there is a picture of three generations living together in a happy and warm family. This harmonious family atmosphere also sets the stage for the development of the storyline later on. That is, Han Zi’ang, Liu Peiqiang, Liu Qi, the three generations who have made great efforts to save the Earth while escapeing together with the Earth, some even sacrificed themselves during this process.
The positioning of this movie is that all people, regardless of race, color, country of origin, language, are all "Earthlings", therefore, in the condition of sun can no longer provide heat and the Earth is no longer suitable for human to survive, the United Government launched the "Wandering Earth” plan, trying to carry the Earth together to escape from the solar system and find a new home for humanity. This reflects the traditional Chinese culture of relocating to a new home, where the Earth is the homeland of the people. Just like the saying goes, “Attaching to the land and unwilling to move —this is the nature of the common people.”(安土重迁，黎民之性) When director Guo Fan started to prepare for the film The Wandering Earth in 2015, he negotiated with Industrial Light & Magic for special effects cooperation, and the other party questioned the content of the story: Why do you Chinese take your home with you when you escape from the universe?(Han Guidong 2020, 129)This also shows the Chinese people's subconscious attachment to home and homeland.
This attachment is related to the Chinese way of thinking. Chinese civilization is a typical agricultural civilization. In ancient China, the small-scale peasant economy was dominant, and the family was the unit of intensive farming, and family and land were important elements in life. The Chinese people emphasize living and working in peace, returning to our homeland when we are getting old, and it’s the last resort to leave our homeland. Therefore, Chinese people have a deep affection for the land, as well as for our home and homeland, and treat nature with the attitude of "the Unity of Heaven and Man". People are used to working peacefully with their own hands, waiting for the joy of harvest, resenting looting and disliking war. Therefore, the core part of Chinese culture is "harmony". Mr. Feng Youlan(冯友兰) said, "If there is a family-based production method, there is a family-based production system. In a family-based production system, all social organizations are centered on the family. All human relations must be set within the relations of the home."(Li Yue 2021, 65)
The phrase "go home" also appears several times in the movie. For instance, when the disaster occurred, the mixed-race boy Tim shouted "I want to go home". When Liu Qi's grandfather was alive, he let Liu Qi protect his sister and took Doduo home; When grandfather died, Liu Qi said to Doduo: "Let’s go home". Liu Peiqiang’s workmate, Lao Ma shouted "I want to go home" when he was in danger during his journey from the dormant module to the general control room. Looking at his family's photos, Liu Peiqiang said "go home" when he decided to take the fuel in the space station with him to produce bigger impact that could keep the earth away from the collision with Jupiter, which also means he would lose his life. People of different ages and countries all want to return home when disaster strikes, simply because home is the warmest harbor. "Home" is the deepest root of Chinese people.
======The collectivism spirit expressed in this film======
When the engines went wrong and were no longer running, in order to make every engine in the world run again, all the rescue teams embarked on a journey to transport the flints. In the process of returning to the underground city, due to a sudden earthquake, Han Zi’ang, Liu Qi and Han Duoduo were forcibly requisitioned to join the rescue by Wang Lei as the commander-in-chief of the CN171-11 rescue team, and this is the first cooperation between them. On the way other vehicles were consciouly giving way for the vehicles transporting the "flint", which also shows that everyone in the rescue to save the Earth is a large collective with a high degree of unity of purpose, where everyone is working hard for the success of the resuce. When they were transporting the flint to Sulawesi Island, they found that someone had already succeeded in transporting the flint to the destination ahead of them after their arrival. This shows that the protagonist is not alone in the battle, and everyone is the "protagonist".
Whether it is a domestic science fiction film or a Hollywood science fiction film, there are always heroes who save the human race in the face of disasters, but Western science fiction movies tend to focus on the value of individual heroes, while the film The Wandering Earth presents to the audience more of a group of people moving in the same direction, doing their best to complete the grand and difficult task of saving the Earth. Because in the Chinese cultural background, China emphasizes collectivism, and the principle of collectivism opposes putting individual interests above the national and collective interests, and does not allow individual interests to negate national and collective interests.(Yue Jianhong 2021, 94) The Chinese spirit of sacrifice is more about sacrificing personal interest or life for the country or team, but the Western sacrifice is more about challenging oneself or for the purpose of proving oneself and taking risks.
In this "saturated rescue", when the human race is faced with a disaster, all individuals stand up together and work together to solve the problem, simply because everyone of us is a part of the Earth, which is related to the survival of each person. This is the so-called "World rise and fall, everyone has a share of responsibility". Every individual work collectively to fight against the disaster, and the principle of “Pool the efforts to accomplish big tasks” is vividly presented before the audience, which is a concentrated reflection of the valuable traditional values of the Chinese nation. In the end, after most of the engines were running again, it still couldn't change the danger of the Earth colliding with Jupiter, and the whole world was broadcasting the failure to save the Earth and telling everyone go back to their families. But Liu Qi did not give up because of this, and he instead put forward the proposation of igniting Jupiter so that the huge impact generated from this action would push the Earth away from Jupiter to avoid a collision. But, after hearing the bad news, everyone felt hopeless, then Han Duo Duo turned to Liu Peiqiang for help, and then she gained an oppoortunity to make a global broadcast, which called on more people to help complete this task, and finally the world's rescue teams turned back to help complete the task of igniting Jupiter. As we often say, "Unity is strength", the film does not present a rescue made by a single one, but a "collective" rescue. People from all over the world unite and struggle together, each one is the most ordinary "screw", but the united power of each one can turn the situation around. This victory does not belong to a single protagonist or one hero, but to everyone.
======A community of shared future for mankind======
Since ancient times, Chinese people have been in the pursuit of "the supreme harmony worldwide"(天下大同). This is rooted in China's excellent traditional culture, such as the ancient Chinese saying, "The great man is the one who takes the heaven and earth and all things as one. He sees the world as one family", a simple thought.(Li Zhou 2021, 147)
In September 2015, the president Xi Jinping delivered an important speech at the General Debate of the 70th session of the United Nations General Assembly at the UN headquarters in New York: "In today's world, all countries are interdependent and in solidarity with each other. We should inherit and carry forward the Charter and principles of the United Nations, build a new type of international relations with win-win cooperation at its core, and create a community of shared future for mankind."(Liu Donglin 2020, 72)
In the report of the 18th CPC National Congress, the concept of " a community of shared future for mankind " was first brought into an important document of the Chinese Communist Party. " A community of shared future for mankind " is a new type of value advocated by the Chinese government to adapt to the future development of mankind, aiming to take into account the reasonable interests of other countries while pursuing the interests of the country, which also reflects the political ideology of the Chinese people who love peace and seek common development.
In the final ignition of the engine, thus detonating Jupiter, so that the impact generated by this process can be used to push the Earth away from Jupiter to avoid a collision. It is difficult to rely on a few people alone to complete this action, but requires collective strength, therefore, in the spirit of community of shared future, all the rescue teams of different countries returned collectively, who offered assistance for this difficult task, presenting a spectacular global rescue scene. It is due to the influence of the idea of " a community of shared future for mankind ", so people all over the world put aside stereotypes only for the purpose of safeguarding the beautiful home where we are depend on for survival. This should be an indispensable common value and worldview for humanity.
In the face of this extinction, humanity has shown unprecedented solidarity. To make more people have a chance to survive, the united government decides to push the entire Earth out of the solar system and fly to a new home 4.2 light years away, which will take 2,500 years. Although the main characters in the film are Chinese, whether on the ground or on the space station, in addition to the Chinese there are many individuals of other races and countries. In the face of the Earth's crisis, the astronauts of all countries on the space station stood around the screen to discuss countermeasures. All these small details can reflect the idea of "community of shared future for mankind". This is also different from the science fiction film Interstellar(《星际穿越》), for there are only a few "elites" go to the new home for survival. In contrast, The Wandering Earth presents the theme of "a community of shared future for mankind" through the storyline, reflecting that nations should be equal to each other.
===Conclusion===
The success of The Wandering Earth has earned Chinese films with Chinese elements and excellent Chinese traditional culture a place in the science fiction world. This is also an inspiration for China's subsequent film production. In order to successfully export Chinese culture, we must show Chinese elements, strengthen cultural confidence, and always adhere to the expression with Chinese characteristics, and reasonably coordinate the contradiction of cultural values. Only with our own characteristics can we let the outside world understand the real China, no longer with prejudice, and accept the differences between different cultures, because there is neither lowliness nor nobleness in culture. The Wandering Earth, a science fiction film with Chinese characteristics, perfectly illustrates the power of cultural self-confidence, so we should tell "Chinese stories" within the framework of Chinese values. Instead of blindly following the West, we should recognize the advantages of our own national identity. In spreading Chinese culture and values, the film The Wandering Earth does not adopt a "didactic" approach, but embodies the spirit through the concrete actions of the characters, which is more convincing and allows the audience to feel the ideas conveyed in the film more genuinely.
Therefore, Chinese filmmakers should spread Chinese culture, promote the implementation of Chinese culture "going out" strategy, devote themselves to building the national image, enhance cultural soft power, take root in the excellent culture of the Chinese nation, and promote the development of Chinese films.
===References===
[1] Li Guangxiao李广霄. (2022).《流浪地球》中的科技特效与家国情怀. [Technology Special Effects and Family Feeling in The Wandering Earth]. 西部广播电视(Western Radio and Television )(05),122-124.
[2] Li Yue李悦. (2021).《流浪地球》中的中国文化元素及西方视角下的改编. [Chinese Cultural Elements in The Wandering Earth and its Adaptation from a Western Perspective]. 青年文学家(Young Literati)(14),64-66.
[3] Li Zhou李洲. (2021).《流浪地球》中人类命运共同体的逻辑表达. [The logical expression of human destiny in The Wandering Earth]. 采写编(Writing and editing )(11),147-148.
[4] Yu Jianhong&Liang Li俞剑红 & 梁力. (2021). 从《流浪地球》的文化内涵浅析跨文化创作的“求同存异”策略. [The Cultural Connotation of The Wandering Earth: An Analysis of the Strategy of "Seeking Common Ground While Keeping Differences" in Cross-cultural Creation.].视听(Shi Ting)(11),94-95.
[5] Liu Qiangling刘倩玲. (2020). 从文化三层结构看电影《流浪地球》对中国文化的表现. 歌海(06),57-60+67.
[6] Yi Hong, Long Yuhong&Min Mengyi易红, 龙玉红 & 闵梦怡. (2022). 对电影《流浪地球》的文化思考.[Cultural Reflections on the Movie The Wandering Earth]. 文化创新比较研究(Comparative Study of Cultural Innovation ) (09),1-4.
[7] Lv Menghan&Lin Jintao吕梦涵 & 林进桃. (2021). 论当下国产数字电影中中国元素的运用——以近年国产热议影片为例. [On the Use of Chinese Elements in Contemporary Chinese Digital Cinema: A Case Study of Recent Hotly Debated Chinese Films]. 美与时代(Beauty and Times)(06),109-111.
[8] Han Guidong&Zhao Chuanxi韩贵东 & 赵传喜. (2020). 论电影工业美学视域下“中国故事”的构拟与盘活——以《流浪地球》为例. [On the Construction and Ｒevitalization of“Chinese Story” from the Aesthetic Perspective of Film Industry ———Take The Wandering Earth as an Example]. 南昌师范学院学报(Journal of Nanchang Normal College )(06),127-131.
[9] Liu Donglin刘东林. (2020). 论讲述中国故事的艺术——以电影《流浪地球》为例. [On the Art of Telling Chinese Stories: The Case of the Film The Wandering Earth]. 大观(论坛)( Grand View(Forum) )(10),70-72.
[10] Du Shengyu杜声誉. (2021). 试析电影《流浪地球》中人类命运共同体的具象表达. [Research on the Concrete Expression of the Community of Human Destiny in the Film Wandering Earth]. 文化创新比较研究(Comparative Study of Cultural Innovation )(02),112-114.
[11] Guo Lei郭雷. (2022). 探析我国科幻电影的成功因素——以电影《流浪地球》为例. [Exploring the Success Factors of China's Science Fiction Films—Take the Movie The Wandering Earth as an example]. 西部广播电视(Western Radio and Television)(04),105-107.
[12] Long Jiali龙佳丽. (2020). 新世纪中国科幻电影中的民俗元素研究. [A Study of Folklore Elements in Chinese Science Fiction Films in the New Century]. Hunan: Hunan Normal University湖南师范大学.
[13] Lai Xianzheng赖先政. (2022). 意识形态对电影的影响——以《流浪地球》与《星际穿越》为例. [The Influence of Ideology on Cinema -Take The Wandering Earth and Interstellar as Examples]. 大众文艺(Popular Literature and Art)(03),111-113.
[14] Zhang Gan&Li Xiaoyan张淦 & 李晓燕. (2022). 中国文化对外传播创新策略探析——以科幻电影《流浪地球》为例. [An Analysis of Innovative Strategies of Chinese Cultural Communication to Foreign Countries--Taking Science Fiction Film The Wandering Earth as an Example]. 视听(Shi Ting)(05),15-19.
[15] Shuo Fang朔方. (2019).《流浪地球》电影制作手记[The Wandering Earth film production handbook]. 人民交通出版社股份有限公司(People's Traffic Publishing House Co.) 52.
[16] Jia Lijun贾丽军. (2007). 以创意之名复兴民族文化——“中国元素”创意大赛有感.[ Reviving National Culture in the Name of Creativity — "Chinese Elements" Creative Competition]. 广告大观（综合版）(Advertising Grand View (General Edition))(2):138.

20220630 Culture 5

2022-07-06T14:24:19Z

Liu Shuangying: /* Key words */

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

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

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==英语笔译刘乐乐 Liu Lele 202170081584==
Chinese Online Fantasy Novels：A comparison Between Dragon Raja and Harry Potter
Liu Lele
===Abstract===
Harry Potter and Dragon Raja, two famous fantasy novels, are similar in many ways including plots, character settings and so on. Since the former is famous across the world while the latter have not been translated from Chinese into English yet, we can learn a lot sentence patterns, phrases, and words from Harry Potter when translating Dragon Raja into English.
===Key words===
Dragon Raja; translation material; communication; fantasy
===Introduction===
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.
===Similarities===
Harry Potter starts from the family of Mr. Dursley, the husband of the main character Harry Potter’s aunt, and Dragon Raja also starts from the family of Mr. Lu Gucheng, the uncle of the main character Lu Mingfei.

There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.

In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.

Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.

Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon Raja", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a loser in Dragon Raja. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.

In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.

Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.
===Differences===
As mentioned above, Harry Potter has a lot in common with Dragons, but that doesn't prevent both books from being excellent fantasy novels. Although there are many similarities between the two works at first glance, there are fundamental differences between the two works
"Harry Potter" is mainly based on the British or European wizard culture as the creation, describes an imaginary magical world. The Dragon Race, on the other hand, mainly creates a dragon world based on Nordic mythology. While Harry Potter is full of wizarding legends and English history, Dragons is based on Norse mythology, but mostly borrows from names and allusions.

Most of the stories in harry Potter take place at Hogwarts, so the rest of the books are very brief. Dragons takes place everywhere, not just at Castle College.

In both books, there are special groups with superpowers, wizards and dragon hybrids. But their lifestyles are totally different. Wizards are more isolated and do not generally interact with Muggles; Hybrids, on the other hand, are hidden in the secular world and hold impressive secular power. And when dealing with enemies, wizards can only use magic, which means that only magic can defeat magic in the Harry Potter worldview. In Dragon Race, the hybrids are very willing to use the power of technology. Science is very important in Dragon Race, and the hybrids are always looking for the combination of dragon power and science.

The ultimate villains in Harry Potter are pure-blood believers led by Lord Voldemort, but they still belong to wizards. As far as dragons are concerned, the villains are dragons. Simply put, the villains in Harry Potter are wizards, while the villains in Dragons are other races. Those who are not of our kind have different hearts. So Dragons as a whole reads more murder and hatred than Harry Potter.

Harry Potter is a fairy tale with strong religious significance in essence. There are many fairy tale elements and religious metaphors in it, and more of them are religious thinking to persuade people to be good. "Dragon Raja" is a secular novel for young people from the beginning, most of which is about the discussion of common people themselves.

In Harry Potter, because it is the essence of fairy tale, the protagonist is naturally good, while the villain is naturally evil. The definition of good and evil is very simple and crude. In The Dragon Clan, it seems that the dragon clan is the villain, but the dragon clan described in the book is not necessarily evil. The confrontation between the hybrid and the dragon clan is more for survival status than good or evil.

In fact, there are many differences between the two works. For example, Lumingfield is more close to ordinary people and easier for us to relate to, while Harry is more like imaginary characters.
===Borrowing from Similarities===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

3.1Sentence Patterns
(1)The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。
In Dragon Raja, it is the same case. So we can translate the above sentence into:
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.

(2)Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...
这也许是杜斯礼一家搞的恶作剧？
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt. So we can translate the above sentence into:
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?

3.2 Phrases
(1)A deafening shout：震耳欲聋
Both in Harry Potter and in Dragon Raja, there’s people like shouting at the main characters, so we can use this phrase to make a vivid description of it.
(2)Questions exploded inside Harry’s head like fireworks.
These two words , “Explode” and “Fireworks”, together constitutes an lively description of the scene. Lu Mingfei was loaded with questions in his head when starting to know everything about dragons, which sounds unbelievable in the real world.

(3)The rattling cart火车咔嗒响。
Both Harry Potter and Dragon Raja have their special trains lead to the schools. So when depicting the sound a train makes in its way, we can use this phrase.

3.3 Words
Since both of the two are novels, when doing translating, we can meet a lot dialogues, which means the Chinese character--”说(said)” will need various substitutions. Besides, there are many descriptions of movements and expressions. Both these words can be very tricky when doing translating. Fortunately, Harry Potter offers various translations of them.

3.3.1 Words to describe the act of speaking(说）
(1) ...Harry asked urgently.
急忙问道，急切问道。
(2) ...said the boy, with a slight sneer.
男孩冷笑道(3)...said the pale boy carelessly,
男孩面色苍白，漫不经心地说
(4) ...he began
他开始说到
(5)...asked politely
礼貌地问
(6)...asked Seamus with great interest.
饶有兴趣地问
(7)...he said coolly
他冷冷地说

3.3.2 Movements and Expressions
(1) waves merrily at him
开心地朝他招手。
(2) sneaking to the kitchen for some food
溜进厨房找东西吃
(3) collapsed into a chair
一屁股坐下
(4) made both of them jump
两个人都吓了一跳
(5) hamming on the door to wake you up.
捶门叫她起床
(6) drumming their fingers on the glass
手指在玻璃上敲击
(7)his stomach rumbling with hunger
肚子咕咕叫
(8) Harry sighed and stretched out on the bed
哈利叹了口气，在床上躺成“大”字形
===Application in translating===
大脸猫头像跳闪，“诺诺”上线。
The profile of a big-face cat flickered, which means NONO got online.
路明非犹豫了一下，“是你？”
“Is that you?”hesitated a little, Lu Mingfei asked
“嗯，陈墨瞳。”诺诺的回答显得懒洋洋的，“没事上来打两盘。”
“Yeah,it’s me, Chen Motong.”She said carelessly,”Got no better things to do than some gaming.”
“你怎么知道我的ID？”
“How did you get my ID?”
“人肉搜索啊，嘿。你居然用‘明明’这种ID，像女孩似的，还有‘夕阳的刻痕’……你是人妖么？”
“Cyber manhunt. Hey, you took Mingming as your ID. Girlish! And “sunset”,are you sure you are not a ladyboy?
“这都能人肉到？千万保密，那是我来逗我弟玩的。”
“You even knew this?! Please keep this secret for me. That’s for playing some little tricks on my cousin.”
“开玩笑的啦，诺玛搜索到的，这对诺玛小菜一碟。你星际打得不错。”
“Just joking. It’s Noma, our intelligent computer, that got all this information. It’s a piece of cake for her. By the way, you are good at Starcraft.”
“行了，我都输给你了。”
“Come on, I lost to you.”
“是我输，诺玛和我一起打的，我们两个控制一家。最后我知道你在升三级基地，因为诺玛偷偷开了地图，看见了。”
“I should be the loser. I played the game with the help of Noma.
“作弊死全家！”路明非打出这句话。
“Cheaters will have his family completely died.” Lu Mingfei type this sentence.
只是随手，这话在群里大家随便说，没谁真的往心里去。
It’s just an online phrase that were often used and no one would take it seriously.
“我家只有我一个人。”诺诺回复。
“I’ve already got no family to lose.”answered Nono.
路明非愣了一下，“对不起。”
Lu Mingfei was stunned a little, and said,”sorry.”
“这有什么对不起的？”诺诺答得很平淡，“玩一盘？”
“Nothing to feel sorry about.”Nono said carelessly still,”Want a game?”
“没心情。”
“not in the mood.”
“失恋了？”
“Broke up with your girlfriend?”
路明非浑身一个激灵，诺诺像是个小巫婆似的，看穿了他的一切，叫他完全无处容身。
“Lu Mingfei was shocked. Nono’s like a little wizard, seeing through everything of him.He could hide nothing in front of her.
“还没有……我没有女朋友，当然不会失恋了，姐姐你想怎样啊？”他输入。
“How can I break up with my girlfriend when I don’t have a one? So what do you want? Big sister!”He typed.
“姐姐叫得还蛮甜的，”诺诺扔出一个龇牙咧嘴的笑脸，“来吧，说说到底怎么回事，我也许能帮上忙。”
“That’s sweet.”Nono sent him a grinning smile,”Alright, let’s hear it.Maybe I can help you.”
“你帮什么忙？你又不认识她。”
“I doubt that.You don’t know about her.”
“我是不认识陈雯雯。”小巫婆诺诺回复得极快。
“Yeah, I do know nothing about Chen Wenwen.”
“你到底知道多少？”路明非忽地很惊恐。
“How much do you know?”Lu Mingfei suddenly got frightened.
“太多了。”
“too much.”
“你们……到底是谁？”路明非手有点抖。
“Who are you?”Typed Lu Mingfei with trembling fingers.
(1) 路明非在屏幕上无奈地打出“GG”（“GG”，指“Good Game”，在竞技类游戏中称赞对方玩得好，也是认负的意思），而后切出了游戏。屏幕上显示的最后一个场景，是十二艘人类巡洋舰以华丽的大和炮聚焦射击，把他的母巢化作了一滩血水。
Lu mingfei reluctantly typed "GG" (" GG "refers to" Good Game "in a competitive Game) on the screen before cutting out the Game. The final scene shown on the screen was twelve human cruisers firing in focus with their magnificent Yamato guns, turning his brood into a pool of blood.
(2) 他输掉了今天的第六局，胜负比例是零比六，这一次他坚持到了22分23秒才被拿下，不过最终还是被拿下了，对方的微操很好，用的又是人类，人类的机枪兵在这个游戏里是个变态的兵种，出枪速度为零，站住了拔枪就射，收枪就跑，路明非的小狗追不上，在路上就一只只被打爆了。
He lost his game for today 6-0，with round 6 hanging/lasting for 22 minutes 23 seconds. His opponent is very good at micro control, with the use of Terran whose riflemen，capable of shooting in an instant，is extremely strong in the game. stood still pull out a gun shoot, gun ran, Lu MingFei's puppy can catch up, thus getting beaten up one by one.
路明非没啃声儿，切到QQ上，那个戴棒球帽的女孩头像还是灰色的，一动不动。对方没上线，又白等了。他抓了抓脑袋，有点失望。另一个头像倒是跳了起来，是个长得很欠的熊猫。
Lu Mingfei did not answer. Switch into QQ, the profile of a girl wearing a baseball cap stayedgray and quiet there. She wasn't online, and he was just waiting for nothing. Scratching his head, he felt a little upset. The other profile was active though，a very disturbing panda.
===Conclusion===
Both Dragon Raja and Harry Potter are great fantasy novels. Dragon Raja has only been enjoyed in China, which to some extent is because it has no other versions than Chinese ones. Harry Potter has both attracting languages and similar plots with Dragon Raja, so there are things can be learned from it.
===References===
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.

==英语笔译刘双英 Liu Shuangying 202170081585==
<center>'''The Devlopment and Dissemination of Chinese Ceramic Culture'''</center>

<center>Liu Shuangying</center>

===Abstract===
This article is divided into four parts. The first part analyzes the connotation of Chinese ceramic culture; the second part discusses the development of ceramic culture in various dynasties, mainly the Neolithic period, the Xia, Shang and Zhou periods, the Tang dynasty and the Song dynasty and other periods; the third part discusses the spread of ceramic culture, mainly from two aspects, namely, two films "China Flower" and "A Porcelain Vase" and the transnational trade of ceramics; the last part is a summary of the whole text.

===Key words===
Ceramic Culture; Cultual Dissemination; Cultural Confidence

===Introduction===
As China's national strength continues to rise, its economy is growing rapidly, but traditional Chinese culture has not yet been well spread. China was one of the first countries to make pottery, and the birthplace of porcelain. From the current archaeological excavations, the earlist ceramics may be the porcelain products created by primitive people when they found that clay was pounded into mud and coated on a container consisting of grass and wood, and the mud would no longer dissolve in water after firing, and soon they started learning to make objects using only clay.(Guo Yue&Song Lili 2022, 31）
The ceramic culture explored in this paper has a long history, but with the development of the times, today's Chinese ceramic culture is far less flourish than in the past. At a time when the country is vigorously promoting cultural outreach and enhancing cultural confidence across the board, it is especially important to reinvigorate ceramic culture and strengthen the development and dissemination of Chinese ceramic culture. People from other countries in the world do not yet know much about traditional Chinese culture, especially in some specialized fields, such as the pottery-making techniques in ceramic culture, and sometimes the knowledge and terminology in these fields are not well understood by our own Chinese laymen as well, who only know some very basic and superficial things. Foremostly, we have to understand its intrinsic cultural connotation and unique historical value before we can plan for its way out and prepare for its revitalization. Therefore, the dissemination of these traditional cultures requires more effort, time and energy to get out of the country, catering to the strategy of "Chinese culture going out" as stated by General Secretary Xi Jinping, which is also of great practical significance to the Chinese dream of the great rejuvenation of the Chinese nation. Only when the economy and culture develop together, and the most characteristic industries of the nation are exported to the outside world, so that more people can understand its unique characteristics, can a country be truly strong and respected by the world.

===The connotation of ceramic culture===
Ceramics is a general term for pottery and porcelain, and ceramics itself is a kind of arts and crafts, as well as a folk culture, which can be seen in folk and temple in ancient times. Mr. Chen Yuqian combined the practicality and aesthetics of ceramics, the unity of science and technology and plastic art and regional factors to define ceramic culture: the essence of ceramic culture actually refers to the various types of cultural connotations embodied in the process of production to display and sale of ceramics.（Hong Lin 2018, 07）Traditional ceramic culture, commonly speaking, is the way of inheritance preserved by the ancestors of the Chinese nation in the production of ceramics, making objects. It is the evolution of ancient Chinese traditional thought, with local folk customs as the core, reflecting the aesthetic ideas of the people, the pleasure of life and the laws of formal beauty at that time.（Wang Fang 2017, 163）
In the light of the above opinions, I believe that ceramic culture includes not only the crafts of making various kinds of fine ceramics, but also the various ideas incorporated into porcelain by ancient working people when making ceramics. From the very beginning, ceramics were only designed for daily use, but later on, various carving techniques were developed, colors were enriched, painting and calligraphy were incorporated into ceramics, and so on, making ceramics more and more exquisite. And in different periods, ceramics show different appearance, and people's preferences for thier appearances and colors, for each stage of the unique image reflects the social landscape of the period, reflecting the rich historical stories behind the characteristics of the historical form of special periods, such as the famous ceramics of different historical periods, such as the Tang Dynasty’s "Tang Tri-Color Glazed Ceramics", the rich colors of the ceramics had changed the style of plain porcelain in the past, reflecting the openness and inclusiveness of the Tang Dynasty to a certain extent. There are many other famous ceramics of other dynasties that reflect the special connotation of the times and the temperament of the people. This is the ceramic culture hidden deeply in the ceramics, which is worthy of our study and learning, and should be vigorously inherited and developed, which is what our country has been advocating that we should stay true to cultural confidence, requiring the Chinese people to adhere to the excellent Chinese traditional culture and faith. It’s the pride of the advanced culture of socialism with Chinese characteristics. Ceramic culture is also something that should be spread vigorously in the new era, so that we can let more people obtain more specific information about China and enhance its the international status.

===The development of ceramic culture in different dynasties===
Ceramic culture has been an important part of Chinese more than 5,000 years culture, and ceramics have been produced for thousands of years since the ancient times.（Shao Changzong 2022, 01）Ceramic culture began in the Neolithic period, and each historical period has shown different characteristics. During the Tang Dynasty, there is the famous " Tang Tri-Color Glazed Ceramics " ceramic culture, which reflects the characteristics of the pottery skills of the Tang Dynasty. During the Yuan Dynasty, there is the famous "Jingdezhen blue and white porcelian" ceramic culture, and many people know about Chinese ceramics because of the blue and white porcelian. Black pottery, colored pottery, etc., all reflect the characteristics of unique aesthetic skills. Just like our modern life, the things that are popular in different periods will be different, which to a certain extent can also reflect the current social customs and mainstream thinking, so the different types and colors of ceramics presented in different historical periods reflect the ceramic culture, but also reflect the thinking of the people in the society at that time.
======Neolithic Period======
The ancestors living in mainland China during the Neolithic period had already learned to fire pottery for daily use, and some data even show that early wine vessels had already appeared.（Yang Xiao 2020, 43）
The distribution and phasing of Neolithic ceramics in China are often divided according to two major basins: the Yellow River basin is divided into Yangshao culture, Majiayao culture, Qijia culture, Dawenkou culture, Longshan culture and other small branches according to the historical development, and the Yangtze River basin can be divided into Daxi culture, Qujialing culture, Hemudu culture, Majiabin culture, Songze culture and Liangzhu culture. Neolithic pottery is mostly decorated with geometric patterns and red and black colors, which indicates that people have mastered the theory of red and black color change of hematite. According to the information found, the following is a brief introduction to the pottery of the Yangshao and Longshan culture periods.
The Yangshao culture period is dominated by sandy red pottery, brown pottery and clay red pottery, with less gray and black pottery. Color pottery is the most representative kind of pottery in Yangshao culture. Shaoyang culture early pottery production method is mainly done by hand, to the middle and late stages "rotating method" slowly appeared. The surface of the pottery is mainly plain and polished, and the decorations have rope pattern, scratch pattern and so on. Pottery is mainly used for daily life, such as food and drinking utensils. Long Shan culture pottery is dominated by sandy gray and black pottery and clay gray and black pottery, black pottery, brown pottery and red pottery second. During this period, the rotating method has been quite common, hand-made and coil method is still seen in use. The surface text of the ware is mainly rope pattern, chevron pattern, etc., and the types of pottery are also more abundant than during the Yangshao culture.
======Xia, Shang and Zhou Periods======
Xia Shang Zhou pottery is the pottery in the bronze age, so the appearance of the pottery in this period mostly imitate the bronze’s. Early pottery-burning kilns appeared in the Xia Dynasty are similar in appearance to the dome kilns in the north. Although the Shang Dynasty did not stand out in the quality of ceramics, but was the first one created the earliest "glaze", which is applied to the pottery, playing a beautiful and clean role, in addition to slowing down the speed of water seepage of pottery, laying the foundation for the emergence of porcelain. Chinese working people mastered the art of glazing on pottery and invented the real sense of porcelain. Compared with the previous pottery, porcelain is solid and durable, with smooth and beautiful body. The emergence of porcelain techniques is a great progress in the history of the world’s porcelain.（Wang Lun 2021, 44）The primitive porcelain made in the Shang Dynasty, also known as glazed porcelain, with features of bright glaze, bright colors, high hardness, and low water absorption.（Jia Binqiang 2017, 24）
The primitive porcelain of the Shang dynasty is made of kaolin clay, firing above 1200 degrees Celsius, whose color of the clay body is mostly off-white, and the glaze is even and bright, emboding a charming color. These characteristics are basically similar to the conditions that porcelain should have. However, its clay body material is not fine enough, and what’s worse, there is a certain degree of water absorption, no light transmission, poor combination of clay and glaze, and easy to flake.
======The Qin, Han and North-South Dynasties======
The Qin Dynasty saw the emergence of large terracotta figurines, and the most famous of which is what we know today the life-size terra-cotta soliders ans horses in Chin tomb. They are very realistic and tall, and very delicate, which shows that the pottery making technique in China reached a very high level in the Qin Dynasty. During the two Han dynasties, pottery was still dominated by gray pottery, with a variety of shapes, and in addition to living pottery, there were also burial ware and architectural pottery. Most notably, in the Eastern Han Dynasty, the successful firing of celadon ware was another brilliant achievement in the history of Chinese ceramics. In the Han Dynasty, the use of Long(dragon) kiln and the emergence of high-temperature glaze ceramic are most typical. Dragon kiln is the kiln whose roof is closed, the kiln body inclined, the lowest section for the fire chamber, the highest end as a smoke vent, because the kiln body built on the mountain, like a dragon coiled from top to bottom in the mountainside, so named dragon kiln. （Yang Xiao 2020, 44）
Dragon kiln temperature changes quickly, so it can be used to do rapid firing. After solving the problem of raw materials, people can fire more than 1200 degrees Celsius high-temperature glaze porcelain through the dragon kiln. The surfaces of ceramics produced in the Han dynasty usually together decorated by flowing clouds and vivid birds and animals. The decorations are full but not chaotic, and the decorative patterns represent the unique style of the Han dynasty, making ceramics look rustic not dull, such a decorative style has a lot to do with the Han dynasty's strong state power and open cultural mentality.（Hong Lin 2018, 11）
Although the period of the Northern and Southern Dynasties is a more turbulent period in anicent China’s society, but the ethnic groups are living in groups, so they can communicate with each other, achieving ethnic integration, and promoting the development of agriculture and handicrafts around the country to varying degrees. Because from the end of the Eastern Han Dynasty, China appeared last 400 years of division situation, resulting in the decline of handicrafts, especially ceramic handicrafts in a long-term standstill. During the Northern Dynasty, the greatest achievement was the emergence of white porcelain. The emergence of celadon and white porcelain paly a significant role in the appearances of porcelain of the Song Dynasty and the "five famous kilns". White porcelain is based on the development of celadon, the main difference is that the raw materials of white porcelain contain lower content of iron than that of celadon.（Jia Binqiang 2017, 25）This shows that at that time there was an understanding of metal coloring agent, which is a major breakthrough in the history of porcelain in China, laying a foundation for the development of color porcelain later. There are several outstanding decorative features during this period: pile molding, piercing techniques, lotus decoration, etc., all of which show the prosperity of ceramic craftsmanship and decoration in this period.
======The Tang Dynasty======
The Tang Dynasty is more powerful and all the people begin to communicate and exchange more frequently. Compared with the ceramics of the Han Dynasty, the ceramics of the Tang Dynasty are more refined. The " Tang Tri-Color Glazed Ceramics " of the Tang Dynasty is also the most well-known ceramics nowadays, but the Tang Tri-color glazed ceramics is not porcelain but pottery. The word " Tri-color " means colorful, including green, yellow, brown, ochre, red, white, blue, black and other colors. Tri-color glazed pottery is made of white clay, glazed with low-temperature glaze containing lead and using iron, copper, manganese, cobalt and other metals as coloring agents, and baked at a low temperature of 750-850 degrees Celsius. This period the surfaces decoration of ceramics began to focus on humanistic pursuits and life spirit, and the ceramic artisans liked to use plants that are closely related to life to decorate ceramics, such as lotus, linden, peony, etc.. Since the travel of Zhang Qian to the West during the reign of Emperor Wu of the Western Han Dynasty, Buddhist ideas have been introduced to the Central Plains and have had a great impact on Chinese history and even modern social development. （Shao Yu 2022, 89）
The elements mentioned above as the decorative patterns of the wares are the usual elements used by Buddhists. During the Tang Dynasty, along with the increasingly frequent cultural exchanges between China and foreign countries, camels gradually became a favorite subject for artisans and craftsmen, and this preference can be reflected in the production of the Tang Tri-color glazed ceramics, which is the best proof of the cultural openness during the Tang Dynasty. In addition, most of the porcelains of the Tang Dynasty were full and round, which indirectly reflected the aesthetic characteristics of the Tang Dynasty with fat as the beauty. This colorful and splendid artistic expression of the Tang Tri-color glazed ceramics can be seen that the Tang Dynasty had a strong power, advanced economy and frequent foreign exchanges at that time (Sun Jingyi 2016, 31). The fact that ceramics of the Tang Dynasty could develop to such a high level is inseparable from its strong national power. In general, from the Northern Dynasty to the Tang Dynasty, the domestic porcelain production pattern of "Southern Celadon and Northern White porcelain" was formed, with the South mainly producing celadon, which was light and delicate, and the North mainly producing white porcelain, which was solid and fair.
======The Song Dynasty======
The Song Dynasty is the peak of ceramic development, with a rich variety of products. The famous "Five Famous Kilns", namely the Ru, Jun, Ge, Guan and Ding kilns, each had its own characteristics, and the Ru, Jun and Guan kilns are successively monopolized or designated by the royal family to fire imperial porcelain. The Ru kiln originated in the area of Ruzhou and Baofeng. Ru kilns are mainly cyan in color, mostly for civilian life porcelain. In the late Northern Song Dynasty, the government monopolized the Ru kiln which was originally engaged in the production of printed celadon for the civic as the official kiln, exclusively for the palace firing imperial goods. Therefore, the Ru kiln consists of two parts: one is official Ru kiln, dedicated to the court to burn imperial porcelain, the other part is for the common people to burn porcelain to meet the needs of the people at the time. The glaze of Ru porcelain is warm and moist, deeply loved by the emperor of the Song Dynasty. The emergence of the Ru kiln unveiled a new stage of ancient celadon techniques in China, changing the previous statement of "southern celadon and northern white porcelain". （Jia Binqiang 2017, 26）
Jun Kiln, the site of which is located near Juntai and Bagua-dong in the north of Yuzhou City at present, is named for its proximity to Juntai. During the Huizong period of the Northern Song Dynasty, it was designated as an imperial treasure. The glaze colors presented by Jun porcelain can be roughly divided into: rose purple, begonia red, eggplant purple, etc. Jun porcelain has an important place in the history of the development of science, technology and art of ceramic craftsmanship in China. The fine "opening pieces" of the Ge and Guan kilns have brought ceramic aesthetics to a new level. The white porcelain of Ding kiln is rich in decorative techniques, and the layout of the decoration is rigorous and well-defined.
The main achievement of porcelain production process in the Song dynasty was improved the quality of porcelain, reaching a high level of no one before or since, with a rich variety of shapes. It also applied the scraping and scratching and other techniques, enriching the decorations of Song porcelain. During the Song dynasty, Jingdezhen fired, in addition to, high-quality Yingqing (misty blue) porcelain. The misty blue decorative patterns are clear and vivid, creating an elegant and fresh appearance, with a sense of refined artistic style.
======The Yuan, Ming and Qing Dynasties======
The Yuan Dynasty was a period when China was ruled by the grassland people, and a large number of grassland people entered the Central Plains during this period. The Yuan Dynasty inherited the pinnacle of ceramics from the Song Dynasty and gave birth to a richer variety of ceramic wares, such as the familiar blue and white porcelain and blue-glazed porcelain. The craftsmanship of this period is characterized by heavy body, not fine enough texture, thick glaze, and most of the wares the Yuan Dynasty are large porcelains, which also reflects the Yuan Dynasty people's rugged and unrestrained characteristics.（Sun Jingyi 2016, 31）
The Ming Dynasty’s porcelain painting skills are neat and delicate, with concise patterns, decorated by birds and flowers. Figures, moutains and lakes, and a variety of animal subjects emerged in large numbers, with a strong artistic impact. The Ming Dynasty’s craftsmanship attached great importance in practical, as well as elegant technical characteristics. Compared with the Tang and Song dynasties, the Ming Dynasty period is not focused on the use of engraving, scratching, stamping methods, but mainly with painted flowers, to maintain the glossy surface of the glaze, presenting a plain and bright style, reflecting the subtle characteristics of people in the Ming Dynasty.（Hong Lin 2018，12）During this period, it also absorbed foreign ceramic firing techniques, thus making the emergence of distinctive enamel wares.
During the Qing Dynasty, ceramics made great progress in both modeling and decorative techniques, and the creation of famille rose porcelain in Jingdezhen was influenced by enameling. The low firing temperature of famille rose porcelain also took use of the rendering painting method of Chinese painting, making the ceramic floral surface pink and soft. The brightly colored famille rose porcelain produced in the Qing Dynasty reflects the great enthusiasm of the people in this period.

===The spread of ceramic culture===
Times are changing, and history is developing, while ceramics has lasted for thousands of years and has not decayed, which also shows that ceramic culture has a profound connotation, and its cultural charm is worth passing on and carrying forward from generation to generation. Cultural confidence is the endogenous force of cultural heritage and development. Traditional ceramic culture requires continuous innovation and development in order to maintain vitality, the closeness will only accelerate the decline and even extinction. (Wang Fang 2017, 164) In order for the country to have a comprehensive development, economic development and cultural development need to be kept in harmony and balanced. In the current era of such rapid development, especially in the current Internet era, the network makes the communication between different cultures more convenient and faster, and the propaganda is also unmatched by traditional media, like the short video shared Li Ziqi about her residential life on several platforms before, which attracted the love of domestic and foreign audiences, and the content shared in her video is of some significance to the spread of Chinese culture. In addition to that, ceramics foreign trade will be easier than other ways for spreading ceramic culutre, because commodity trading is a more frequent activity between countries. Therefore, in this high-tech era, we have to use modern technology to make ceramic culture continue to flourish, to let more people know about it through more understandable ways, such as movies, documentaries, etc., to experience the beauty of ceramic crafts, to export more elegant and exquisite ceramic products, and to let more people experience and marvel at the greatness of Chinese ceramic culture.
======The role of film in the dissemination of ceramic culture======
Film and television media, as the propaganda carrier, depend on television, film and network and otthers for information dissemination.（Li Chunning 2011, 70）Film and television media can give people visually watch and enjoy the contents showed in them, so that people can feel intimate, vivid images. With vivid content displayed in front of audience, they are easy to be accepted and recognized by the audience. The film "China Flower" and "A Porcelain Vase " exemplify the perfect combination of film and ceramic culture.
The story of " China Flower" is very small, mainly talking about a pair of blue and white porcelain bottles, but although this pair of bottles is ordinary on the surface, its life's glory and humiliation is closely related to the ups and downs of Chinese history.（Zhang Wenjing 2020, 16）The story unfolds in three parallel times, connecting the three pairs of main characters by the blue and white porcelain bottles as the pivot to start its the narration. Although the story unfolds with the blue and white porcelain bottles, it is not limited to the description of the bottles, but also tells the story of the loyal love between two people, national sentiment and even national honor. The pair of blue and white porcelain carries the unrepentant vow between kiln maker of the Yuan Dynasty and his wife, and carries the fearlessness of scholars returning from foreign countries for study in the late Qing Dynasty in the face of the waning dynasty's helplessness and dedicating to defend the interests of the nation, presenting the sacrifices made by patriots in that era to preserve the country's cultural relics. The zeal of our forefathers is not only to save the bottles, and to defend the backbone and fortitude of the Chinese nation, but also displays their eagerness for a bright future of this nation. Although the film does not show a lot of footage about the manufacturing of ceramics, but intersperses with a lot of authentic ceramic knowledge, such as the film in the choice of different porcelain in different scenes, which are very good to promote the ceramic culture.
The film " A Porcelain Vase ", shot in 1979, has distinctive features of that era, and the most striking of which is the ceramic elements. The film begins by telling the audience a poignant legend related to Ji Hong(sacrificial red, intepreted literally), a kind of porcelain, which also sets a tragic tone for the whole story. Sacrificial red is not gaudy, red with a slight purple, no cracked texture in the glaze, is the treasures in color glaze porcelain.（Zhang Wenjing 2020, 17）
The story of the film " A Porcelain Vase " happened in the Ming Dynasty. The emperor asked Jingdezhen porcelain workers to fire the porcelain within 3 days, or all workers would be beheaded, which was obviously a great challenge for the craftsmanship at the time. When everyone was desperate, Linglong, the daughter of an old worker, jumped into the kiln and sacrificed herself to create thel red porcelian vase. There are several versions of this legend about the sacrificial red, but the one in this film is the most widely circulated. Some versions call this red glaze "beauty drunk"(美人醉), but the general content is the same. Ceramic folk tales, although most of them are fictional, some of them also add a certain mythological color, but they all express the good wish of ancient working people and porcelain workers. It is their pursuit of ideal and faith under the historical conditions at that time. At the same time, it also reflects the spirit of struggle of the people at that time to defy hardship, tenacity and unyielding, not afraid of sacrifice.（Wang Lun 2021, 45）
Many of the more professional traditional culture is difficult to carry forward and spread out, because its professionalism is too strong, away from people's daily lives, so it is difficult for people to resonate. And ceramic culture is a regional culture, requiring a high degree of professionalism, a lot of professional background knowledge and skills, which can not be easily get obtained by the ordinary people. But the film can lead people together to appreciate the shape, color and historical connotations of Chinese ceramics This is an aesthetic activity that the public can participate in, which is also the advantage of film and television in the dissemination of ceramic culture.
======Cross-border trade for the dissemination of ceramic culture======
In a sense, artifacts are much easier to spread across national borders than culture.（Chen Shali 2020, 181）Chinese ceramic has tri-status in society, that is, at the intersection of daily life, commerce and art, and is both a practical object, a commodity, and a work of art and a collection, closely related to social behavior, long-distance trade and upper-class taste, providing the world with a unique perspective on world history. Whether for political purposes or commercial interests, trade has become an important vehicle for Chinese cultural exports, and each ceramic object exported to the outside world carries the ideas and emotions that Chinese culture seeks to express. According to statistics, China ranks first in the world in terms of the value of ceramic production and export each year, with daily-use ceramics accounting for about 70%, artistic porcelain for 65%, and architectural porcelain for 50%.（Wang Fang 2017, 165）
The famous Italian traveler Mark Polo appreciated Dehua porcelain in his travelogue: "The porcelain are plentiful and beautiful!", and after he returned to his country, the Dehua porcelain was brought back to be treasured in St. Mark's Cathedral in Venice, which was known to the world as "Marco Polo porcelain" and became the first piece of Chinese porcelain arrived in Europe in the written record.
Another high point in the spread of Chinese ceramic culture in Europe came during Zheng He's voyage to the West during the Ming Dynasty, when large quantities of fine Chinese porcelain entered the European public's view and the message of Chinese culture it carried was widely disseminated. （Tan lijun 2020, 80）On their return voyage, the fleet also carried a large number of foreign goods, including the important pigment for blue and white porcelain, smalt, which was produced in West Asia. The vigorous development of Sino-foreign trade and commerce greatly promoted the circulation of Chinese ceramics around the world and the extraterritorial spread of Chinese culture. It is probably not unfamiliar for the people about the blue and white porcelain, which has been the leading porcelain type in China for more than a century. But the blue and white porcelain is not a completely local product, but the result of the collision between Chinese culture and Islamic culture. The Chinese do not have the national psychological tendency of white and blue, but the merchants in the Persian region of West Asia know that China's Jingdezhen can produce high-quality white porcelain, and they love blue.With the combination of the smalt of Persian region and Jingdezhen quality white porcelain, porcelain decoration in addition to the traditional landscape, figures, flowers and birds, etc., but also adds the decorative patterns with Islamic cultural characteristics, thus creating the world-renowned blue and white porcelain.
Chinese ceramics influenced by the outside cultures, but while Chinese ceramics in the sale to Europe, it also cast influences on the outside world, such as the 18th century Rococo art, an European art style, characterized by flamboyance, elegance, and Chinese blue and white porcelain is rich in rustic, fantasy and elegant features, these characteristics just in line with the European aesthetic orientation during the "Rococo art" period. This influence can be bluntly said to be the product of the borrowing and integration of Western and Chinese culture and art.（Hong Lin 2018, 19）This reflects the two-way influence of cultural transmission, that is, Chinese ceramic culture in the process of spreading will accept the influence of the outside world, and in turn it will also have a certain influence on the outside world.

===Conclusion===
Chinese ceramic culture has a long history, from the beginning of the Neolithic period of household ceramics, but then with increasingly rich types of ceramics, and ceramic skills are more and more exquisite, glaze colors are also more and more rich, creating a lot of prestigious ceramic products. Film and television have brought ceramic culture to the audience in a more interesting and intuitive way, making it easier for ceramic culture to enter the hearts and minds of the public. Transnational trade in ceramics allows Chinese ceramics to go beyond the borders of China, allowing people around the world to experience and appreciate Chinese ceramic culture and its beauty together. Chinese ceramics culture is profound and long-standing, and is a representative and symbol of the soft power of traditional Chinese culture. From the perspective of spiritual culture, ceramic culture contains a rich social connotation, and different periods of social development represent different Chinese cultural spirits. Ceramic culture has been continuously inherited, developed and innovated in the long history. Nowadays, in the new century when Chinese and Western cultures are colliding with each other, how to protect these traditional cultural resources and pass them on permanently requires the efforts of all people. To maintain the vitality and vitality of Chinese culture, we need to take the initiative to go out and interact with the excellent cultures of the world's ethnic groups. Continuously learning, borrowing and absorbing the excellent cultures of the world's ethnic groups is a must for the great rejuvenation of the Chinese nation.
Promoting the dissemination of ceramic culture helps the innovative development of ceramic culture and art in the new era. For ceramic culture to develop in the long run, it is necessary to not only keep the tradition, but also to focus on the actual needs of modern society and achieve innovation. The creative transformation and innovative development of traditional ceramic culture will enable the Chinese nation to participate in world cultural exchanges with a stronger cultural confidence.

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==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

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[2] 姜倩. 幻想与现实：二十世纪科幻小说在中国的译介[D].复旦大学,2006.

[3] 黄唯唯.《三体》的英译研究——让中国式科幻走向世界[J].湖北第二师范学院学报,2016,33(09):125-128.

[4] 孔庆东.中国科幻小说概说[J].涪陵师范学院学报,2003(03):37-45.

[5] 高茜,王晓辉.中国科幻小说英译发展述评:2000-2020年[J].中国翻译,2021,42(05):57-64+192.

[6] 梁昊文.中国当代科幻小说外译及其研究述评[J].广东外语外贸大学学报,2019,30(01):41-46+52.

[7] 徐伟彬.科幻小说翻译的科学意义[J].湖州师范学院学报,2002(05):22-25.

[8] 任冬梅.新世纪以来中国科幻小说的现状及前景[J].当代文坛,2018(03):140-145.

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[10] 吴赟,何敏.《三体》在美国的译介之旅:语境、主体与策略[J].外国语(上海外国语大学学报),2019,42(01):94-102.

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Transmission of Contemporary Chinese Literature in English-speaking Countries: A Case Study of ''Red Sorghum'''''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===
In the globalization pattern of cultural pluralism and coexistence, it is the top priority of cultural construction and reform to enhance the global influence of Chinese culture and spread and promote Chinese culture to the world. It is our goal to promote Chinese culture to go global, and the translation of Chinese literature into foreign languages is an important means to achieve this goal. However, this process is not always smooth, and as the process of "going global" in China is hindered, people gradually realize that many factors other than the act of translation are affecting the "going global" of Chinese culture.

Mo Yan is a leading figure in contemporary Chinese literature, and after winning the Nobel Prize for Literature, the attention and sales of his works abroad have increased dramatically. At a time when translations of Chinese contemporary literature have repeatedly suffered setbacks, the successful translation of Mo Yan's novels has sounded the trumpet of victory. This paper analyzes the importance, current situation and reasons for the "going global" of contemporary literature with reference to Andre Lefevere's theory of "three elements" (patronage, ideology and poetics), and studies the successful translation of Mo Yan's masterpiece ''Red Sorghum'' overseas. The study of the successful translation of ''Red Sorghum'' overseas, and the exploration of the effective translation mode of contemporary literature in China, are hoping to contribute to Chinese contemporary literature's going global.

===Key words===
contemporary Chinese literature; transmission; ''Red Sorghum''

===Introduction===
With the further development of globalization, it is no longer a pure economic phenomenon. What accompanies economic globalization is political globalization and the exchange, collision and integration of "soft power" with cultural ideas, ideologies and values as its basic connotation across national borders. Culture is an important symbol of a country's soft power and plays an increasingly prominent role in the competition for comprehensive national power. The globalization of cultural communication has become a social reality that cannot be ignored. (Xu Wen 2013: 96) Different countries, nationalities and cultures want to communicate with each other, so that cultural communication can break through the original national boundaries and geographical restrictions, and eventually get out of the narrow and prejudiced national culture and gain recognition in the global scope.

The "going global" of Chinese culture has been elevated to a national strategic level, and the translation of contemporary Chinese literature, as an important carrier of culture, has assumed the primary task. However, it must be admitted that Chinese literature in general is still in a marginal position in the field of world literature. From the overall situation of translation and dissemination of Chinese contemporary literature, the problems of poor quality of translation, few number of publications, and low overseas acceptance are very prominent. According to statistics, during the nearly 110 years from the beginning of 1900s to the beginning of 2000s, China translated and introduced about 100,000 Western books, while the West introduced less than 500 Chinese books. In recent years, China has introduced about 150 American books in a year, while the United States has imported less than 10 Chinese literary works. (Bao Xiaoying 2015: 80) There is an obvious imbalance between the export and import of literature. Thus, it is clear that there is a long way to go for Chinese contemporary literature to "go global".

On October 11, 2012, Mo Yan was awarded the Nobel Prize in Literature, becoming the first Chinese writer to win the Nobel Prize in Literature. Since then, the popularity of contemporary Chinese literature in the world literary scene has increased dramatically, more readers from abroad have begun to pay attention to the works of contemporary Chinese writers, and the attention of overseas academic circles has also begun to focus on Chinese literature. This has offered a good opportunity for Chinese contemporary literature to go global, and also put forward new ideas for the study of translation and dissemination of Chinese contemporary literature overseas.

Since 1988, Mo Yan’s works have been translated into English, French, Spanish, German, Swedish, Russian, Japanese and other languages. As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. At the same time, as the first novel to be translated overseas and immediately gain acclaim and access to Western commercial channels, ''Red Sorghum'' has set a model for the translation and transmission of contemporary Chinese literature.

This paper takes Howard Goldblatt's translation of ''Red Sorghum'' as a case study to examine the overseas transmission and acceptance of this translation on the basis of previous studies, so as to provide some inspiration for the transmission of contemporary Chinese literature. Due to the limitations of language, this paper will only talk about the translation and transmission of contemporary Chinese literature in English-speaking countries.

===The Importance of Contemporary Chinese Literature Going Global===
Culture has always been an important factor affecting national competitiveness. All major countries in the world have made the improvement of their culture an important national development strategy. Every country, nation and culture wants to exchange with each other, so that their culture can break through the original national boundaries and geographical restrictions and achieve a wider and deeper dissemination. At present, "Chinese literature going global" is flourishing, and the translation of Chinese literature has become an important part of spreading Chinese culture (Bao Xiaoying 2013: 62). Since the 21st century, China has devoted itself to the translation and interpretation of Chinese literature, and has launched a series of publication projects on the translation and dissemination of Chinese literature. At the same time, many journals of Chinese literature in English translation have been established to promote contemporary Chinese literature to the English-speaking world (Yu Hong 2021: 112).

Culture is an important symbol of a country's "soft power" and a symbol of its influence and cohesion. Culture as a soft power plays an increasingly prominent role in the competition for comprehensive national power. Culture has always been an important factor in national competitiveness. Having a strong "cultural soft power" means being able to win the initiative in the fierce international competition. Without cultural soft power, a country has no connotation, no support, and cannot become a real major country.

The strategy of "going global" of Chinese culture was first proposed in the mid-1990s. The "going global" strategy is a major initiative in the new stage of opening up to the outside world. Since then, the "going global" strategy has been expanded from the economic field to the cultural field, and relevant documents have been issued one after another.

Chinese culture "going global" has two basic meanings: First, it is the dissemination of Chinese cultural ideas and cultural forms to the world through cultural exchange. Second, it refers to the export of cultural products and services in international trade (Xiao Yingying 2012: 84). Compared with developed countries in the West, China has a serious "cognitive deficit" in cultural trade, from ideas, cultural symbols to cultural products, and many countries still have a fragmented, one-sided and superficial understanding of Chinese culture. China's economy is growing, but it is still in a weak position in terms of cultural soft power, such as cultural communication and influence, and cultural weakness, which can only be solved by developing cultural industries and communicating with other cultures (Bao Xiaoying 2014: 7).

Communication is the nature of culture, through which different cultures can be perceived. In today's globalization, cross-cultural communication affects people's thought and behavior from different aspects. Translation has always played a very important role in the process of intercultural communication. Translation is not only the conversion of language, but also the transmission of culture. Translation can spread new ideas, new concepts and new technologies, promote cultural exchange and progress, as well as promoting the common development of different cultures. Throughout the history of Chinese and foreign cultures, it is evident that translation has played a great role in spreading cultures in the world. Translation has greatly enriched the exchange and dissemination of Chinese and foreign ideas.

Above all, translation bridges the language barrier between different cultural societies, contributes to the exchange and interaction of cultural information with other countries, facilitates the common development of national cultures, and promotes the sharing of human civilization. "The development within a country and the establishment of its international status depend largely on cultural soft power, and cultural soft power, whether imported or exported, is, in our opinion, first and foremost a translation issue." (Xu Jun 2012: 12) The current strategy of "going global" of Chinese culture advocated by the Chinese government is, in a small way, to export our "cultural soft power" through the power of "translation", and in a larger way, to enhance China's "international status" (Hu Anjiang 2012: 56).

The translation, publication and dissemination of Chinese literature have become an important part of China's cultural outreach. The world needs to observe China through Chinese literature, and China needs to show its true image through literature. Without the role of translation as a medium and without the outreach of translated texts, the outreach of Chinese culture will only be empty talk. It has always been the goal of the country to promote the "going global" of Chinese culture through the translation of Chinese classics (Bao Xiaoying 2013: 54).

===Transmission of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present) (Wan Yu 2021: 220).

In the first stage, China had fewer exchanges with English-speaking countries due to political-ideological conflicts. As a result, relatively few foreign-led publications of contemporary Chinese literature were published during this phase. In the first stage, contemporary Chinese literature translated to English-speaking countries focused more on social and political aspects than on literary aspects.

In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. Compared with the first stage, except for the selection of materials that glorified the revolution and took the working and peasant classes as the main characters in the early period of the founding of the PRC, the domestic publishing institutions were more strict about the themes of translated works during the Cultural Revolution. During this period, more works related to revolution and reflecting class struggle came to the English-speaking countries.

In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some works of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions didn't pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. Meanwhile, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak.

Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than publicity; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and markets. The English-speaking world, Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

Since Mo Yan was awarded the Nobel Prize for Literature, a large amount of Chinese literature, represented by his works, has been translated into the United States and other parts of the world. However, data show that translated works account for only 3% of the total number of publications in the United States, of which less than 1% are literary translations, indicating that the American public does not have an urgent and strong intrinsic need for foreign literature and culture (Xie Tianzhen 2019: 95).

===The Successful Transmission of ''Red Sorghum''===
'''Brief Introduction to ''Red Sorghum'''''

''Red Sorghum'' is a long novel written by Mo Yan, divided into five chapters: ''Red Sorghum'', ''Sorghum Wine'', ''Dog Ways'', ''Sorghum Funeral'', and ''Strange Death''. The five chapters were first published as novellas, of which ''Red Sorghum'' was first published in ''People’s Literature'' in 1986.

''Red Sorghum'' is a family saga of Yu Zhan-ao and Dai Fenglian(identified as Granddad and Grandma from a boy’s perspective), covering their romance, their spontaneous resistance against the Japanese invaders between 1939 and 1941. This novel is set in the fields of dense, tall, red sorghum plants in Northeast Gaomi Township, Shandong Province, China, hence the title ''Red Sorghum''. ''Red Sorghum'' is a classic work that shows the tenacity and national spirits of the Gaomi people in the Anti-Japanese war.

'''Translation and Transmission of ''Red Sorghum'''''

In 1988, Mo Yan’s work ''Dry River'' was first translated and published in Japan, and in 1999, a total of 54 foreign translations of Mo Yan’s works were published during the 11 years, focusing on three works: ''Red Sorghum'', ''Red Sorghum'' and ''The Garlic Ballads''. A total of 30 overseas publications of ''Red Sorghum'' and ''Red Sorghum'' accounted for nearly 60% of the total overseas publications of Mo Yan’s works during this period.

As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. Compared to most Chinese literary works that do not sell well overseas, the sales of ''Red Sorghum'' are more optimistic. According to scholar Bao Xiaoying’s statistics, the English version of ''Red Sorghum'' was published in 1993 and sold more than 50,000 copies in a dozen years, which is not bad sales.

A very important indicator of the reach of a Chinese work of literature in the United States is the number of U.S. libraries that collect the work. If the number of U.S. libraries collecting the work is high, it means that the work is widely distributed in the United States, and vice versa (Liu Guozhi, Chi Changhai. Li Qingliu 2022: 60).

According to the table of the top 10 ranking of the dissemination of English-translated Chinese contemporary novels published in the United States, it can be seen that the English-translated novel ''Red Sorghum'' ranks third overall among the Chinese contemporary novels published and disseminated in the United States. It can be said that ''Red Sorghum'' is the most widely distributed Chinese contemporary novel in the United States. Table 2 shows the collections of public and community libraries and libraries of universities and research institutions in different states. It also shows the ranking and distribution of the top ten states in the United States for the distribution of the novel ''Red Sorghum'' in English translation. Six of the top ten states have more than 40% of the public and community libraries collecting ''Red Sorghum'': 50% in Ohio, 49.23% in Illinois, 48.92% in California, 43.90% in Florida, 43.24% in North Carolina, and 41.27% in Texas, with Ohio accounting for half of the public and community libraries. . These data indicate that the Chinese contemporary novel ''Red Sorghum'' has entered public and community libraries in the U.S., showing that the structure of Chinese contemporary fiction distribution and readership in the U.S. is changing, shifting from its previous distribution primarily in universities and research institutions to the general public. (Two tables mentioned cannnot be uploaded)

'''The Reasons for ''Red Sorghum's'' Successful Transmission'''

The popularity of ''Red Sorghum'' overseas was made possible by many factors. The film of the same name is the pioneer. Thanks to the award-winning film, the translation and dissemination of the novel was promoted overseas. Coupled with the unique perspective and content of the work itself, and the translator Howard Goldblatt’s promotion and personalized translation, the successful transmission of this work was achieved.

'''The Literary Value of the Work Itself'''

Mo Yan, born in 1956 in Gaomi County, Shandong Province. ''Red Sorghum'' is based on the life of his hometown during the anti-Japanese war. Unlike other anti-Japanese literature, Mo Yan's anti-Japanese story is told from the perspective of ordinary people, which is more real and deeper. Mo Yan's literary works often portray original life with bold, mischievous depictions that resonate strongly with readers and shock them. In this novel, there is both questioning and rebellion against existing traditional values, as well as profound analysis of feudal ethics and human nature.

The theme of ''Red Sorghum'' is not only to promote the idea of living a bold, emancipated and frank life, but also to celebrate the patriotic spirit of the heroic resistance to Japan. The so-called "personality liberation" refers to the liberation of the "human" personality. Human being" is the unity of "spirit" and "flesh", "divinity" and "bestiality", "spirit" and "matter", "social man" and "natural man". Man has a "natural human nature", that is "human's" survival instincts and natural desires.

The novel ''Red Sorghum'' not only promotes the liberation of individuality, but also celebrates the tenacity and sacrificial spirit of anti-Japanese patriotism. This dual theme of enlightenment and salvation in literature is an inheritance of the May Fourth tradition. Both the May Fourth movement and the New Culture Movement happened at a time of increasing imperialist aggression against China and a sense of national crisis and the increasingly urgent historical requirement for national self-improvement, self-reliance and salvation.

'''The Pioneering Role of the Film ''Red Sorghum'''''

In today's era of new media, for many readers, they first come to the original work through an adaptation of the work, such as a film or television production. In other words, these readers get to know a literary work or a writer through a film or television work (Hao Dan 2019: 58). In fact, this is how foreign publishers and readers come to know Mo Yan and his ''Red Sorghum''. In 1988, the movie ''Red Sorghum'' directed by Zhang Yimou was released in Canada, the United States and other places. It is worth noting that not only the movie is adapted from Mo Yan's novel ''Red Sorghum'', but its screenwriting team also includes Mo Yan himself. In 1986, when Zhang Yimou decided to make the movie, Mo Yan only received 800 yuan in royalties and 1200 yuan in screenwriting fees. He would not have imagined that in the fifth year after the film's release (1993), the English translation of ''Red Sorghum'' would be published by Penguin Publishing in the United States, with a first printing of 10,000 copies. The number of its first printing is not large, but it is very rare for a contemporary Chinese writer in the early 1990s to have such a publishing opportunity and achievement in the United States. In addition, in 2004, when the American Arcade Press published Mo Yan's another work Big Breasts and Wide Hips, the publisher still mentioned the film ''Red Sorghum'' in the recommendation, which shows the role of the film in the dissemination of Mo Yan's novel.

It can be said that the translation and publication of the English translation of ''Red Sorghum'' is mainly based on the impressive international achievements of the film: in 1988, the film won the Golden Bear Award at the 38th Berlin International Film Festival, the Best Film Award, the Best Director Award, the True Novelty Award for feature films at the 5th Zimbabwe International Film Festival, the Film Critics Award at the 35th Sydney International Film Festival, the 1st Marseille International Film Festival in Morocco, and the Golden Bear Award for the Best Film at the 16th Brussels International Film Festival. In 1989, the film won the Best Film Award from the Radio Audience Jury at the 16th Brussels International Film Festival and the Silver Bear Award at the 5th Montreal World Film Festival in France; in 1990, the film was nominated for the annual prize of the GDR Filmmaker's Association for the ten best feature films of the annual Cuban Film Distribution Awards. Shortly after the film won the awards, Viking Penguin Press took the initiative to invite Howard Goldblatt to translate Mo Yan's ''Red Sorghum''. Of course, the translation of Mo Yan's work into English did not begin with ''Red Sorghum'', but prior to the award-winning film ''Red Sorghum'', Mo Yan's work had never been published in a single volume by a publisher in the English-speaking world.

'''Howard Goldblatt's Translation and Promotion'''

When it comes to the transmission of ''Red Sorghum'' in the English-speaking world, the contribution of its translator, Howard Goldblatt, cannot be overlooked. Howard Goldblatt is a well-known American sinologist and translator who has a high level of attainment in the study of contemporary Chinese literature, and has translated a large number of Chinese literary works. He was born in 1939 in California, USA. Later, while attending the U.S. Naval Officer's School, he was sent to serve in Taipei. While serving, Howard Goldblatt learned Chinese and read books to kill time, and gradually fell in love with Chinese culture. After studying Chinese at the National Taiwan Normal University for about a year, his Chinese language skills improved greatly. Later, he entered San Francisco State University and systematically studied Chinese language and literature. Because of his love for Chinese language and literature, He worked as a Chinese language teacher for one year after graduating with his master's degree. In order to continue to improve his Chinese language, he entered the Department of East Asian Languages at Indiana University to pursue a PhD in Chinese literature. In 1984, with his active leadership and assistance, ''Modern Chinese Literature'', a scholarly journal devoted to Chinese literature, was launched, with Howard Goldblatt as editor-in-chief, giving readers in the English-speaking world the opportunity to read Chinese literature, which contributed greatly to the promotion of Chinese literature.

As a confidant of Chinese literature, Howard Goldblatt has never stopped studying and translating Chinese literature for more than thirty years. His profound knowledge of both Chinese and English, good knowledge of Chinese literature, keen literary insight, and excellent translation skills have contributed to the achievement of Mo Yan, who was awarded the Nobel Prize for Literature, as well as to the dissemination of Chinese literature in the world and to the equal dialogue with world literature.

After Mo Yan won the Nobel Prize, almost everyone said that it was the translator Howard Goldblatt who made Mo Yan a success, and this is not an exaggeration. In terms of the text itself, there are two conditions for a work of contemporary Chinese literature to get the attention of publishers in English-speaking countries: one is a good story, and another is an authentic translation. A well-told story is a response to the cultural psychology and reading habits of the target readers. A good translation is very important in the translation of Mo Yan's works, because most of Mo Yan's novels have a unique Chinese historical background and profound Chinese traditional cultural connotation. Although he is known to the world literary world as a "storyteller", if the translator fails to translate the Chinese history and culture implied behind the Chinese language as effectively as possible into a language that can be understood by English-speaking readers, the transmission and popularity of these works will be difficult to achieve.

'''The Role of Publishing Brokers and Houses'''

For the works of Chinese writers to spread overseas, they must be supported and promoted by authoritative publishing brokers and publishing companies. The reason why Mo Yan's ''Red Sorghum'' is so popular in English-speaking countries is the support of his publishing agent team and Arcade Publishing.

Beijing Genuine&Profound Culture Media Co.,LTD.(hereinafter referred to as "Genuine&Profound") actually plays the role of a copyright agent for Mo Yan's works, responsible for developing the value of Mo Yan's works and planning the publication and distribution of Mo Yan's works. As the book publishing industry becomes more open and free, contemporary Chinese writers have had more knowledge of the publishing market, and some of them have realized the importance of publishing agents. A publishing agent, often called a copyright agent, is a middleman or intermediary that connects a work with a publisher. A publishing agent signs a copyright agency contract with a writer, and then helps the writer find a publishing platform for the work or an opportunity to exploit subsidiary rights related to the work. The services of a publishing agent are what Genuine&Profound provides for Mo Yan.

The uniqueness of Genuine&Profound lies in the fact that it has proposed the business model of "360°celebrity brokerage" for the first time in the industry. This service includes paper book publishing, digital rights management and promotion, promotion of film and television rights of literary works, brokerage of famous artists' artworks, promotion of famous artists' business and social activities, provision of artwork trading platforms, development and sales of derivatives, and legal protection of rights. With respect to Mo Yan's works, it believes that the value of Mo Yan is not only reflected in the publication and distribution of his Chinese works, but also in the overseas publication rights of paper books, film and television adaptation rights, digital publication rights, sales rights of calligraphy works and other subsidiary rights related to them.

The man behind Arcade Publishing, which has published five titles of Mo Yan's works in English translation, is in fact Richard Seaver, Mo Yan's most important advisor in the American publishing world. Arcade Publishing was established by Richard Seaver in 1988 to publish fiction and non-fiction literature. After Richard's death in 2009, Arcade went bankrupt and was acquired by Pegasus Publishing in July of the following year, and relaunched in 2011 under the name Pegasus, with its main focus remaining the same and the addition of some art books (Hao Dan 2019: 59). Today, Arcade Publishing has published nearly 300 authors from over 30 countries. Arcade Publishing has always been a great admirer of Mo Yan's works, and the front page of Arcade's official website has for quite some time read: Arcade and Skyhorse congratulate Mo Yan on winning the 2012 Nobel Prize for Literature". Unfortunately, Richard passed away without waiting for Mo Yan to win the Nobel Prize, but his remarkable vision and solidity as a publisher have made him immortal.

===Conclusion===
Literary works that "go global" should have both universal and heterogeneous qualities in themselves. Universality can resonate with overseas authors, while the unique local characteristics of the works excite readers' interest (Zhang Lijun, Yu Huijun 2021: 92).

Another important factor in the success of Mo Yan's overseas distribution was mentioned earlier: the overseas influence of Zhang Yimou's film. The huge market for films often plays an excellent role in advertising and rapidly promotes the translation and publication of original literary works overseas. The spread and influence of contemporary Chinese literature and Chinese films overseas actually help each other. On the one hand, this shows that outstanding literary scripts are an important basis for the success of films; on the other hand, it also shows that successful film operations will produce a chain effect that can lead to a series of related cultural industries.

In addition, in the process of Chinese literature going global the selection of translation subjects is crucial. Local translators in China do not know enough about the reading habits of Western readers and lack in-depth research on the literary publishing market, so the dissemination of works translated by them is inevitably hindered abroad. In contrast, foreign sinologists have the unique advantage of being the ideal translators for Chinese literature to go global. Local Chinese translators are more likely to perceive Chinese characteristics and outstanding literary works, while the group of sinologists has a deeper understanding of the target language readership and dissemination. The advantages of both complement each other, thus promoting Chinese literature to go out better.

In addition, nowadays, in the context of globalization, it is also very important to establish a good relationship with foreign well-known publishing institutions. ''Red Sorghum'' was released by a well-known foreign publisher, so that it could be more widely known by its target readers. The most important thing is that major publishers can get a good understanding of the market, which is conducive to the dissemination of Chinese literature in the West.

The experience of the successful dissemination of ''Red Sorghum'' shows that for contemporary Chinese literature to go global, not only is there a requirement for the quality and cultural value of the work itself, but there is also a need for reliable translators and authoritative publishing partners.

===References===
Bao Xiaoying鲍晓英. (2013) 中国文化“走出去”之译介模式探索——中国外文局副局长兼总编辑黄友义访谈录[Explorations on the Translation and Communication Model for Chinese Literature Going Out—Interview with Huang Youyi, Deputy Director and Editor-in-Chief of China Foreign Language Bureau][J]. ''中国翻译'' [Chinese Translators Journal] (5): 43-45.

Bao Xiaoying鲍晓英. (2014) 中国文学“走出去”译介模式研究——以莫言英译作品美国译介为例[Study on the Translation and Communication Model for Chinese Literature Going Out—with the Communication of Mo Yan's English Translations in America as an Example][C]. Shanghai International Studies University上海外国语大学.

Bao Xiaoying鲍晓英. (2015) 译介学视野下的中国文化外译观—谢天振教授中国文化外译观研究[The View of Chinese Culture in Foreign Translation from the Perspective of Translation Studies—A Study of Professor Xie Tianzhen's View of Chinese Culture in Foreign Translation][J]. ''外语研究'' [Foreign Languages Research] (5): 78-83.

Hu Anjiang胡安江. (2012) 再论中国文学“走出去”之译者模式及翻译策略——以寒山诗在英语世界的传播为例[The Translation Model and the Translating Strategy Revisited—with the Dissemination of Cold Mountain Poems in the English World as an Example][J]. ''外语教学理论与实践'' [Foreign Language Learning Theory and Practice] (4): 55-61.

Hao Dan郝丹. (2019) 莫言作品英译本的出版传播经验研究[A Study of the Publication and Dissemination Experience of Mo Yan's Works in English Translation][J]. ''对外传播'' [International Communications] (06): 58-60.

Liu Guozhi, Chi Changhai, Li Qingliu刘国芝，池昌海，李清柳. (2022) 英译小说《红高粱》在美国的传播与接受[Dissemination and Reception of the English Translation of Red Sorghum in America][J]. ''中国翻译'' [Chinese Translators Journal] 43(02): 59-66.

Wan Yu万聿. (2021) 中国当代文学英译概览与研究综述[Overview and Research Review of English Translation of Contemporary Chinese Literature][J]. ''复旦外国语言文学论丛'' [Fudan Forum on Foreign Languages and Literature] (02): 215-223.

Xu Jun许钧. (2012) 翻译研究之用及其可能的出路[Translation Studies in China: Its Functions and a Possible Direction for Its Further Development][J]. ''中国翻译'' [Chinese Translators Journal] (1): 5-12.

Xie Tianzhen谢天振. (2019) 译介学:理念创新与学术前景[Medio-translatology: Its Innovative Concepts and Academic Prospects][J]. ''外语学刊'' [Foreign Language Research] (04): 95-102.

Xu Wen徐稳. (2013) 全球化背景下当代中国文化传播的困境与出路[The Dilemma and Solution of the Advanced Culture Transmission under the Background of Globalization][J]. ''山东大学学报（哲学社会科学版）'' [Journal of Shandong University(Philosophy and Social Sciences)] (4): 96-103.

Xiao Yingying萧盈盈. (2012) 中华文化走出去的现状分析与发展思考[Analysis of the Current Situation and Development of Chinese Culture Going Out][J]. ''现代传播'' [Modern Communication] (1): 84-86.

Yu Hong于虹. (2021) 译介学与中国现当代文学在美国的翻译与传播[Medio-translatology and the Translation and Dissemination of Contemporary Chinese Literature in America][J]. ''外语学''刊 [Foreign Language Research] (02): 112-115.

Zhang Lijun, Yu Huijun张丽君，余慧君. (2021) 有声与无声——莫言《红高粱》海外传播的启示[Sound and Silence—Enlightenment of Mo Yan's Red Sorghum's Overseas Communication][J]. ''文化创新比较研究'' [Comparative Study of Cultural Innovation] 5(21): 89-92.

===Terms and expressions===
《红高粱家族》 ''Red Sorghum''

诺贝尔文学奖 the Nobel Prize for Literature

安德烈·勒菲弗尔Andre Lefevere

三要素理论 "three elements" (patronage, ideology and poetics)

葛浩文 Howard Goldblatt

文革 the Cultural Revolution

《枯河》 ''Dry River''

《天堂蒜薹之歌》 ''The Garlic Ballads''

企鹅出版公司 Penguin Publishing

《丰乳肥臀》 ''Big Breasts and Wide Hips''

柏林国际电影节 Berlin International Film Festival

津巴布韦国际电影节 Zimbabwe International Film Festival

悉尼国际电影节 Sidney International Film Festival

马拉什国际电影电视节 Mar del Plata Film Festival

布鲁塞尔国际电影节 Bruxelles International Film Festival

蒙彼利埃国际电影节 Montreal World Film Festival

《中国现代文学》 ''Modern Chinese Literature''

北京精典博维文化传媒有限公司 Beijing Genuine&Profound Culture Media Co.,LTD.

拱廊出版公司 Arcade Publishing

理查德·西维尔 Richard Seaver

===Questions===
1. What's the "three elements" put forward by Lefevere?

2. How many American books has China introduced in a year recently?

3. When was Mo Yan awarded the Nobel Prize in Literature?

4. Which novel is the most translated and reprinted work of Mo Yan?

5. How many stages are there in the history of contemporary Chinese literature in English-speaking countries?

6. What are the reasons for ''Red Sorghum's'' successful transmission?

===Answers===
1. Patronage, ideology and poetics.

2. About 150.

3. On October 11, 2012.

4. ''Red Sorghum''

5. Four.

6. The literary value of the work itself; the pioneering role of the film ''Red Sorghum''; Howard Goldblatt's translation and promotion; the role of publishing brokers and houses.

20220630 Culture 5

2022-07-06T14:22:31Z

Liu Shuangying: /* Abstract */

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

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

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==英语笔译刘乐乐 Liu Lele 202170081584==
Chinese Online Fantasy Novels：A comparison Between Dragon Raja and Harry Potter
Liu Lele
===Abstract===
Harry Potter and Dragon Raja, two famous fantasy novels, are similar in many ways including plots, character settings and so on. Since the former is famous across the world while the latter have not been translated from Chinese into English yet, we can learn a lot sentence patterns, phrases, and words from Harry Potter when translating Dragon Raja into English.
===Key words===
Dragon Raja; translation material; communication; fantasy
===Introduction===
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.
===Similarities===
Harry Potter starts from the family of Mr. Dursley, the husband of the main character Harry Potter’s aunt, and Dragon Raja also starts from the family of Mr. Lu Gucheng, the uncle of the main character Lu Mingfei.

There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.

In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.

Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.

Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon Raja", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a loser in Dragon Raja. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.

In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.

Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.
===Differences===
As mentioned above, Harry Potter has a lot in common with Dragons, but that doesn't prevent both books from being excellent fantasy novels. Although there are many similarities between the two works at first glance, there are fundamental differences between the two works
"Harry Potter" is mainly based on the British or European wizard culture as the creation, describes an imaginary magical world. The Dragon Race, on the other hand, mainly creates a dragon world based on Nordic mythology. While Harry Potter is full of wizarding legends and English history, Dragons is based on Norse mythology, but mostly borrows from names and allusions.

Most of the stories in harry Potter take place at Hogwarts, so the rest of the books are very brief. Dragons takes place everywhere, not just at Castle College.

In both books, there are special groups with superpowers, wizards and dragon hybrids. But their lifestyles are totally different. Wizards are more isolated and do not generally interact with Muggles; Hybrids, on the other hand, are hidden in the secular world and hold impressive secular power. And when dealing with enemies, wizards can only use magic, which means that only magic can defeat magic in the Harry Potter worldview. In Dragon Race, the hybrids are very willing to use the power of technology. Science is very important in Dragon Race, and the hybrids are always looking for the combination of dragon power and science.

The ultimate villains in Harry Potter are pure-blood believers led by Lord Voldemort, but they still belong to wizards. As far as dragons are concerned, the villains are dragons. Simply put, the villains in Harry Potter are wizards, while the villains in Dragons are other races. Those who are not of our kind have different hearts. So Dragons as a whole reads more murder and hatred than Harry Potter.

Harry Potter is a fairy tale with strong religious significance in essence. There are many fairy tale elements and religious metaphors in it, and more of them are religious thinking to persuade people to be good. "Dragon Raja" is a secular novel for young people from the beginning, most of which is about the discussion of common people themselves.

In Harry Potter, because it is the essence of fairy tale, the protagonist is naturally good, while the villain is naturally evil. The definition of good and evil is very simple and crude. In The Dragon Clan, it seems that the dragon clan is the villain, but the dragon clan described in the book is not necessarily evil. The confrontation between the hybrid and the dragon clan is more for survival status than good or evil.

In fact, there are many differences between the two works. For example, Lumingfield is more close to ordinary people and easier for us to relate to, while Harry is more like imaginary characters.
===Borrowing from Similarities===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

3.1Sentence Patterns
(1)The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。
In Dragon Raja, it is the same case. So we can translate the above sentence into:
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.

(2)Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...
这也许是杜斯礼一家搞的恶作剧？
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt. So we can translate the above sentence into:
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?

3.2 Phrases
(1)A deafening shout：震耳欲聋
Both in Harry Potter and in Dragon Raja, there’s people like shouting at the main characters, so we can use this phrase to make a vivid description of it.
(2)Questions exploded inside Harry’s head like fireworks.
These two words , “Explode” and “Fireworks”, together constitutes an lively description of the scene. Lu Mingfei was loaded with questions in his head when starting to know everything about dragons, which sounds unbelievable in the real world.

(3)The rattling cart火车咔嗒响。
Both Harry Potter and Dragon Raja have their special trains lead to the schools. So when depicting the sound a train makes in its way, we can use this phrase.

3.3 Words
Since both of the two are novels, when doing translating, we can meet a lot dialogues, which means the Chinese character--”说(said)” will need various substitutions. Besides, there are many descriptions of movements and expressions. Both these words can be very tricky when doing translating. Fortunately, Harry Potter offers various translations of them.

3.3.1 Words to describe the act of speaking(说）
(1) ...Harry asked urgently.
急忙问道，急切问道。
(2) ...said the boy, with a slight sneer.
男孩冷笑道(3)...said the pale boy carelessly,
男孩面色苍白，漫不经心地说
(4) ...he began
他开始说到
(5)...asked politely
礼貌地问
(6)...asked Seamus with great interest.
饶有兴趣地问
(7)...he said coolly
他冷冷地说

3.3.2 Movements and Expressions
(1) waves merrily at him
开心地朝他招手。
(2) sneaking to the kitchen for some food
溜进厨房找东西吃
(3) collapsed into a chair
一屁股坐下
(4) made both of them jump
两个人都吓了一跳
(5) hamming on the door to wake you up.
捶门叫她起床
(6) drumming their fingers on the glass
手指在玻璃上敲击
(7)his stomach rumbling with hunger
肚子咕咕叫
(8) Harry sighed and stretched out on the bed
哈利叹了口气，在床上躺成“大”字形
===Application in translating===
大脸猫头像跳闪，“诺诺”上线。
The profile of a big-face cat flickered, which means NONO got online.
路明非犹豫了一下，“是你？”
“Is that you?”hesitated a little, Lu Mingfei asked
“嗯，陈墨瞳。”诺诺的回答显得懒洋洋的，“没事上来打两盘。”
“Yeah,it’s me, Chen Motong.”She said carelessly,”Got no better things to do than some gaming.”
“你怎么知道我的ID？”
“How did you get my ID?”
“人肉搜索啊，嘿。你居然用‘明明’这种ID，像女孩似的，还有‘夕阳的刻痕’……你是人妖么？”
“Cyber manhunt. Hey, you took Mingming as your ID. Girlish! And “sunset”,are you sure you are not a ladyboy?
“这都能人肉到？千万保密，那是我来逗我弟玩的。”
“You even knew this?! Please keep this secret for me. That’s for playing some little tricks on my cousin.”
“开玩笑的啦，诺玛搜索到的，这对诺玛小菜一碟。你星际打得不错。”
“Just joking. It’s Noma, our intelligent computer, that got all this information. It’s a piece of cake for her. By the way, you are good at Starcraft.”
“行了，我都输给你了。”
“Come on, I lost to you.”
“是我输，诺玛和我一起打的，我们两个控制一家。最后我知道你在升三级基地，因为诺玛偷偷开了地图，看见了。”
“I should be the loser. I played the game with the help of Noma.
“作弊死全家！”路明非打出这句话。
“Cheaters will have his family completely died.” Lu Mingfei type this sentence.
只是随手，这话在群里大家随便说，没谁真的往心里去。
It’s just an online phrase that were often used and no one would take it seriously.
“我家只有我一个人。”诺诺回复。
“I’ve already got no family to lose.”answered Nono.
路明非愣了一下，“对不起。”
Lu Mingfei was stunned a little, and said,”sorry.”
“这有什么对不起的？”诺诺答得很平淡，“玩一盘？”
“Nothing to feel sorry about.”Nono said carelessly still,”Want a game?”
“没心情。”
“not in the mood.”
“失恋了？”
“Broke up with your girlfriend?”
路明非浑身一个激灵，诺诺像是个小巫婆似的，看穿了他的一切，叫他完全无处容身。
“Lu Mingfei was shocked. Nono’s like a little wizard, seeing through everything of him.He could hide nothing in front of her.
“还没有……我没有女朋友，当然不会失恋了，姐姐你想怎样啊？”他输入。
“How can I break up with my girlfriend when I don’t have a one? So what do you want? Big sister!”He typed.
“姐姐叫得还蛮甜的，”诺诺扔出一个龇牙咧嘴的笑脸，“来吧，说说到底怎么回事，我也许能帮上忙。”
“That’s sweet.”Nono sent him a grinning smile,”Alright, let’s hear it.Maybe I can help you.”
“你帮什么忙？你又不认识她。”
“I doubt that.You don’t know about her.”
“我是不认识陈雯雯。”小巫婆诺诺回复得极快。
“Yeah, I do know nothing about Chen Wenwen.”
“你到底知道多少？”路明非忽地很惊恐。
“How much do you know?”Lu Mingfei suddenly got frightened.
“太多了。”
“too much.”
“你们……到底是谁？”路明非手有点抖。
“Who are you?”Typed Lu Mingfei with trembling fingers.
(1) 路明非在屏幕上无奈地打出“GG”（“GG”，指“Good Game”，在竞技类游戏中称赞对方玩得好，也是认负的意思），而后切出了游戏。屏幕上显示的最后一个场景，是十二艘人类巡洋舰以华丽的大和炮聚焦射击，把他的母巢化作了一滩血水。
Lu mingfei reluctantly typed "GG" (" GG "refers to" Good Game "in a competitive Game) on the screen before cutting out the Game. The final scene shown on the screen was twelve human cruisers firing in focus with their magnificent Yamato guns, turning his brood into a pool of blood.
(2) 他输掉了今天的第六局，胜负比例是零比六，这一次他坚持到了22分23秒才被拿下，不过最终还是被拿下了，对方的微操很好，用的又是人类，人类的机枪兵在这个游戏里是个变态的兵种，出枪速度为零，站住了拔枪就射，收枪就跑，路明非的小狗追不上，在路上就一只只被打爆了。
He lost his game for today 6-0，with round 6 hanging/lasting for 22 minutes 23 seconds. His opponent is very good at micro control, with the use of Terran whose riflemen，capable of shooting in an instant，is extremely strong in the game. stood still pull out a gun shoot, gun ran, Lu MingFei's puppy can catch up, thus getting beaten up one by one.
路明非没啃声儿，切到QQ上，那个戴棒球帽的女孩头像还是灰色的，一动不动。对方没上线，又白等了。他抓了抓脑袋，有点失望。另一个头像倒是跳了起来，是个长得很欠的熊猫。
Lu Mingfei did not answer. Switch into QQ, the profile of a girl wearing a baseball cap stayedgray and quiet there. She wasn't online, and he was just waiting for nothing. Scratching his head, he felt a little upset. The other profile was active though，a very disturbing panda.
===Conclusion===
Both Dragon Raja and Harry Potter are great fantasy novels. Dragon Raja has only been enjoyed in China, which to some extent is because it has no other versions than Chinese ones. Harry Potter has both attracting languages and similar plots with Dragon Raja, so there are things can be learned from it.
===References===
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.

==英语笔译刘双英 Liu Shuangying 202170081585==
<center>'''The Devlopment and Dissemination of Chinese Ceramic Culture'''</center>

<center>Liu Shuangying</center>

===Abstract===
This article is divided into four parts. The first part analyzes the connotation of Chinese ceramic culture; the second part discusses the development of ceramic culture in various dynasties, mainly the Neolithic period, the Xia, Shang and Zhou periods, the Tang dynasty and the Song dynasty and other periods; the third part discusses the spread of ceramic culture, mainly from two aspects, namely, two films "China Flower" and "A Porcelain Vase" and the transnational trade of ceramics; the last part is a summary of the whole text.

===Key words===
===Introduction===
As China's national strength continues to rise, its economy is growing rapidly, but traditional Chinese culture has not yet been well spread. China was one of the first countries to make pottery, and the birthplace of porcelain. From the current archaeological excavations, the earlist ceramics may be the porcelain products created by primitive people when they found that clay was pounded into mud and coated on a container consisting of grass and wood, and the mud would no longer dissolve in water after firing, and soon they started learning to make objects using only clay.(Guo Yue&Song Lili 2022, 31）
The ceramic culture explored in this paper has a long history, but with the development of the times, today's Chinese ceramic culture is far less flourish than in the past. At a time when the country is vigorously promoting cultural outreach and enhancing cultural confidence across the board, it is especially important to reinvigorate ceramic culture and strengthen the development and dissemination of Chinese ceramic culture. People from other countries in the world do not yet know much about traditional Chinese culture, especially in some specialized fields, such as the pottery-making techniques in ceramic culture, and sometimes the knowledge and terminology in these fields are not well understood by our own Chinese laymen as well, who only know some very basic and superficial things. Foremostly, we have to understand its intrinsic cultural connotation and unique historical value before we can plan for its way out and prepare for its revitalization. Therefore, the dissemination of these traditional cultures requires more effort, time and energy to get out of the country, catering to the strategy of "Chinese culture going out" as stated by General Secretary Xi Jinping, which is also of great practical significance to the Chinese dream of the great rejuvenation of the Chinese nation. Only when the economy and culture develop together, and the most characteristic industries of the nation are exported to the outside world, so that more people can understand its unique characteristics, can a country be truly strong and respected by the world.

===The connotation of ceramic culture===
Ceramics is a general term for pottery and porcelain, and ceramics itself is a kind of arts and crafts, as well as a folk culture, which can be seen in folk and temple in ancient times. Mr. Chen Yuqian combined the practicality and aesthetics of ceramics, the unity of science and technology and plastic art and regional factors to define ceramic culture: the essence of ceramic culture actually refers to the various types of cultural connotations embodied in the process of production to display and sale of ceramics.（Hong Lin 2018, 07）Traditional ceramic culture, commonly speaking, is the way of inheritance preserved by the ancestors of the Chinese nation in the production of ceramics, making objects. It is the evolution of ancient Chinese traditional thought, with local folk customs as the core, reflecting the aesthetic ideas of the people, the pleasure of life and the laws of formal beauty at that time.（Wang Fang 2017, 163）
In the light of the above opinions, I believe that ceramic culture includes not only the crafts of making various kinds of fine ceramics, but also the various ideas incorporated into porcelain by ancient working people when making ceramics. From the very beginning, ceramics were only designed for daily use, but later on, various carving techniques were developed, colors were enriched, painting and calligraphy were incorporated into ceramics, and so on, making ceramics more and more exquisite. And in different periods, ceramics show different appearance, and people's preferences for thier appearances and colors, for each stage of the unique image reflects the social landscape of the period, reflecting the rich historical stories behind the characteristics of the historical form of special periods, such as the famous ceramics of different historical periods, such as the Tang Dynasty’s "Tang Tri-Color Glazed Ceramics", the rich colors of the ceramics had changed the style of plain porcelain in the past, reflecting the openness and inclusiveness of the Tang Dynasty to a certain extent. There are many other famous ceramics of other dynasties that reflect the special connotation of the times and the temperament of the people. This is the ceramic culture hidden deeply in the ceramics, which is worthy of our study and learning, and should be vigorously inherited and developed, which is what our country has been advocating that we should stay true to cultural confidence, requiring the Chinese people to adhere to the excellent Chinese traditional culture and faith. It’s the pride of the advanced culture of socialism with Chinese characteristics. Ceramic culture is also something that should be spread vigorously in the new era, so that we can let more people obtain more specific information about China and enhance its the international status.

===The development of ceramic culture in different dynasties===
Ceramic culture has been an important part of Chinese more than 5,000 years culture, and ceramics have been produced for thousands of years since the ancient times.（Shao Changzong 2022, 01）Ceramic culture began in the Neolithic period, and each historical period has shown different characteristics. During the Tang Dynasty, there is the famous " Tang Tri-Color Glazed Ceramics " ceramic culture, which reflects the characteristics of the pottery skills of the Tang Dynasty. During the Yuan Dynasty, there is the famous "Jingdezhen blue and white porcelian" ceramic culture, and many people know about Chinese ceramics because of the blue and white porcelian. Black pottery, colored pottery, etc., all reflect the characteristics of unique aesthetic skills. Just like our modern life, the things that are popular in different periods will be different, which to a certain extent can also reflect the current social customs and mainstream thinking, so the different types and colors of ceramics presented in different historical periods reflect the ceramic culture, but also reflect the thinking of the people in the society at that time.
======Neolithic Period======
The ancestors living in mainland China during the Neolithic period had already learned to fire pottery for daily use, and some data even show that early wine vessels had already appeared.（Yang Xiao 2020, 43）
The distribution and phasing of Neolithic ceramics in China are often divided according to two major basins: the Yellow River basin is divided into Yangshao culture, Majiayao culture, Qijia culture, Dawenkou culture, Longshan culture and other small branches according to the historical development, and the Yangtze River basin can be divided into Daxi culture, Qujialing culture, Hemudu culture, Majiabin culture, Songze culture and Liangzhu culture. Neolithic pottery is mostly decorated with geometric patterns and red and black colors, which indicates that people have mastered the theory of red and black color change of hematite. According to the information found, the following is a brief introduction to the pottery of the Yangshao and Longshan culture periods.
The Yangshao culture period is dominated by sandy red pottery, brown pottery and clay red pottery, with less gray and black pottery. Color pottery is the most representative kind of pottery in Yangshao culture. Shaoyang culture early pottery production method is mainly done by hand, to the middle and late stages "rotating method" slowly appeared. The surface of the pottery is mainly plain and polished, and the decorations have rope pattern, scratch pattern and so on. Pottery is mainly used for daily life, such as food and drinking utensils. Long Shan culture pottery is dominated by sandy gray and black pottery and clay gray and black pottery, black pottery, brown pottery and red pottery second. During this period, the rotating method has been quite common, hand-made and coil method is still seen in use. The surface text of the ware is mainly rope pattern, chevron pattern, etc., and the types of pottery are also more abundant than during the Yangshao culture.
======Xia, Shang and Zhou Periods======
Xia Shang Zhou pottery is the pottery in the bronze age, so the appearance of the pottery in this period mostly imitate the bronze’s. Early pottery-burning kilns appeared in the Xia Dynasty are similar in appearance to the dome kilns in the north. Although the Shang Dynasty did not stand out in the quality of ceramics, but was the first one created the earliest "glaze", which is applied to the pottery, playing a beautiful and clean role, in addition to slowing down the speed of water seepage of pottery, laying the foundation for the emergence of porcelain. Chinese working people mastered the art of glazing on pottery and invented the real sense of porcelain. Compared with the previous pottery, porcelain is solid and durable, with smooth and beautiful body. The emergence of porcelain techniques is a great progress in the history of the world’s porcelain.（Wang Lun 2021, 44）The primitive porcelain made in the Shang Dynasty, also known as glazed porcelain, with features of bright glaze, bright colors, high hardness, and low water absorption.（Jia Binqiang 2017, 24）
The primitive porcelain of the Shang dynasty is made of kaolin clay, firing above 1200 degrees Celsius, whose color of the clay body is mostly off-white, and the glaze is even and bright, emboding a charming color. These characteristics are basically similar to the conditions that porcelain should have. However, its clay body material is not fine enough, and what’s worse, there is a certain degree of water absorption, no light transmission, poor combination of clay and glaze, and easy to flake.
======The Qin, Han and North-South Dynasties======
The Qin Dynasty saw the emergence of large terracotta figurines, and the most famous of which is what we know today the life-size terra-cotta soliders ans horses in Chin tomb. They are very realistic and tall, and very delicate, which shows that the pottery making technique in China reached a very high level in the Qin Dynasty. During the two Han dynasties, pottery was still dominated by gray pottery, with a variety of shapes, and in addition to living pottery, there were also burial ware and architectural pottery. Most notably, in the Eastern Han Dynasty, the successful firing of celadon ware was another brilliant achievement in the history of Chinese ceramics. In the Han Dynasty, the use of Long(dragon) kiln and the emergence of high-temperature glaze ceramic are most typical. Dragon kiln is the kiln whose roof is closed, the kiln body inclined, the lowest section for the fire chamber, the highest end as a smoke vent, because the kiln body built on the mountain, like a dragon coiled from top to bottom in the mountainside, so named dragon kiln. （Yang Xiao 2020, 44）
Dragon kiln temperature changes quickly, so it can be used to do rapid firing. After solving the problem of raw materials, people can fire more than 1200 degrees Celsius high-temperature glaze porcelain through the dragon kiln. The surfaces of ceramics produced in the Han dynasty usually together decorated by flowing clouds and vivid birds and animals. The decorations are full but not chaotic, and the decorative patterns represent the unique style of the Han dynasty, making ceramics look rustic not dull, such a decorative style has a lot to do with the Han dynasty's strong state power and open cultural mentality.（Hong Lin 2018, 11）
Although the period of the Northern and Southern Dynasties is a more turbulent period in anicent China’s society, but the ethnic groups are living in groups, so they can communicate with each other, achieving ethnic integration, and promoting the development of agriculture and handicrafts around the country to varying degrees. Because from the end of the Eastern Han Dynasty, China appeared last 400 years of division situation, resulting in the decline of handicrafts, especially ceramic handicrafts in a long-term standstill. During the Northern Dynasty, the greatest achievement was the emergence of white porcelain. The emergence of celadon and white porcelain paly a significant role in the appearances of porcelain of the Song Dynasty and the "five famous kilns". White porcelain is based on the development of celadon, the main difference is that the raw materials of white porcelain contain lower content of iron than that of celadon.（Jia Binqiang 2017, 25）This shows that at that time there was an understanding of metal coloring agent, which is a major breakthrough in the history of porcelain in China, laying a foundation for the development of color porcelain later. There are several outstanding decorative features during this period: pile molding, piercing techniques, lotus decoration, etc., all of which show the prosperity of ceramic craftsmanship and decoration in this period.
======The Tang Dynasty======
The Tang Dynasty is more powerful and all the people begin to communicate and exchange more frequently. Compared with the ceramics of the Han Dynasty, the ceramics of the Tang Dynasty are more refined. The " Tang Tri-Color Glazed Ceramics " of the Tang Dynasty is also the most well-known ceramics nowadays, but the Tang Tri-color glazed ceramics is not porcelain but pottery. The word " Tri-color " means colorful, including green, yellow, brown, ochre, red, white, blue, black and other colors. Tri-color glazed pottery is made of white clay, glazed with low-temperature glaze containing lead and using iron, copper, manganese, cobalt and other metals as coloring agents, and baked at a low temperature of 750-850 degrees Celsius. This period the surfaces decoration of ceramics began to focus on humanistic pursuits and life spirit, and the ceramic artisans liked to use plants that are closely related to life to decorate ceramics, such as lotus, linden, peony, etc.. Since the travel of Zhang Qian to the West during the reign of Emperor Wu of the Western Han Dynasty, Buddhist ideas have been introduced to the Central Plains and have had a great impact on Chinese history and even modern social development. （Shao Yu 2022, 89）
The elements mentioned above as the decorative patterns of the wares are the usual elements used by Buddhists. During the Tang Dynasty, along with the increasingly frequent cultural exchanges between China and foreign countries, camels gradually became a favorite subject for artisans and craftsmen, and this preference can be reflected in the production of the Tang Tri-color glazed ceramics, which is the best proof of the cultural openness during the Tang Dynasty. In addition, most of the porcelains of the Tang Dynasty were full and round, which indirectly reflected the aesthetic characteristics of the Tang Dynasty with fat as the beauty. This colorful and splendid artistic expression of the Tang Tri-color glazed ceramics can be seen that the Tang Dynasty had a strong power, advanced economy and frequent foreign exchanges at that time (Sun Jingyi 2016, 31). The fact that ceramics of the Tang Dynasty could develop to such a high level is inseparable from its strong national power. In general, from the Northern Dynasty to the Tang Dynasty, the domestic porcelain production pattern of "Southern Celadon and Northern White porcelain" was formed, with the South mainly producing celadon, which was light and delicate, and the North mainly producing white porcelain, which was solid and fair.
======The Song Dynasty======
The Song Dynasty is the peak of ceramic development, with a rich variety of products. The famous "Five Famous Kilns", namely the Ru, Jun, Ge, Guan and Ding kilns, each had its own characteristics, and the Ru, Jun and Guan kilns are successively monopolized or designated by the royal family to fire imperial porcelain. The Ru kiln originated in the area of Ruzhou and Baofeng. Ru kilns are mainly cyan in color, mostly for civilian life porcelain. In the late Northern Song Dynasty, the government monopolized the Ru kiln which was originally engaged in the production of printed celadon for the civic as the official kiln, exclusively for the palace firing imperial goods. Therefore, the Ru kiln consists of two parts: one is official Ru kiln, dedicated to the court to burn imperial porcelain, the other part is for the common people to burn porcelain to meet the needs of the people at the time. The glaze of Ru porcelain is warm and moist, deeply loved by the emperor of the Song Dynasty. The emergence of the Ru kiln unveiled a new stage of ancient celadon techniques in China, changing the previous statement of "southern celadon and northern white porcelain". （Jia Binqiang 2017, 26）
Jun Kiln, the site of which is located near Juntai and Bagua-dong in the north of Yuzhou City at present, is named for its proximity to Juntai. During the Huizong period of the Northern Song Dynasty, it was designated as an imperial treasure. The glaze colors presented by Jun porcelain can be roughly divided into: rose purple, begonia red, eggplant purple, etc. Jun porcelain has an important place in the history of the development of science, technology and art of ceramic craftsmanship in China. The fine "opening pieces" of the Ge and Guan kilns have brought ceramic aesthetics to a new level. The white porcelain of Ding kiln is rich in decorative techniques, and the layout of the decoration is rigorous and well-defined.
The main achievement of porcelain production process in the Song dynasty was improved the quality of porcelain, reaching a high level of no one before or since, with a rich variety of shapes. It also applied the scraping and scratching and other techniques, enriching the decorations of Song porcelain. During the Song dynasty, Jingdezhen fired, in addition to, high-quality Yingqing (misty blue) porcelain. The misty blue decorative patterns are clear and vivid, creating an elegant and fresh appearance, with a sense of refined artistic style.
======The Yuan, Ming and Qing Dynasties======
The Yuan Dynasty was a period when China was ruled by the grassland people, and a large number of grassland people entered the Central Plains during this period. The Yuan Dynasty inherited the pinnacle of ceramics from the Song Dynasty and gave birth to a richer variety of ceramic wares, such as the familiar blue and white porcelain and blue-glazed porcelain. The craftsmanship of this period is characterized by heavy body, not fine enough texture, thick glaze, and most of the wares the Yuan Dynasty are large porcelains, which also reflects the Yuan Dynasty people's rugged and unrestrained characteristics.（Sun Jingyi 2016, 31）
The Ming Dynasty’s porcelain painting skills are neat and delicate, with concise patterns, decorated by birds and flowers. Figures, moutains and lakes, and a variety of animal subjects emerged in large numbers, with a strong artistic impact. The Ming Dynasty’s craftsmanship attached great importance in practical, as well as elegant technical characteristics. Compared with the Tang and Song dynasties, the Ming Dynasty period is not focused on the use of engraving, scratching, stamping methods, but mainly with painted flowers, to maintain the glossy surface of the glaze, presenting a plain and bright style, reflecting the subtle characteristics of people in the Ming Dynasty.（Hong Lin 2018，12）During this period, it also absorbed foreign ceramic firing techniques, thus making the emergence of distinctive enamel wares.
During the Qing Dynasty, ceramics made great progress in both modeling and decorative techniques, and the creation of famille rose porcelain in Jingdezhen was influenced by enameling. The low firing temperature of famille rose porcelain also took use of the rendering painting method of Chinese painting, making the ceramic floral surface pink and soft. The brightly colored famille rose porcelain produced in the Qing Dynasty reflects the great enthusiasm of the people in this period.

===The spread of ceramic culture===
Times are changing, and history is developing, while ceramics has lasted for thousands of years and has not decayed, which also shows that ceramic culture has a profound connotation, and its cultural charm is worth passing on and carrying forward from generation to generation. Cultural confidence is the endogenous force of cultural heritage and development. Traditional ceramic culture requires continuous innovation and development in order to maintain vitality, the closeness will only accelerate the decline and even extinction. (Wang Fang 2017, 164) In order for the country to have a comprehensive development, economic development and cultural development need to be kept in harmony and balanced. In the current era of such rapid development, especially in the current Internet era, the network makes the communication between different cultures more convenient and faster, and the propaganda is also unmatched by traditional media, like the short video shared Li Ziqi about her residential life on several platforms before, which attracted the love of domestic and foreign audiences, and the content shared in her video is of some significance to the spread of Chinese culture. In addition to that, ceramics foreign trade will be easier than other ways for spreading ceramic culutre, because commodity trading is a more frequent activity between countries. Therefore, in this high-tech era, we have to use modern technology to make ceramic culture continue to flourish, to let more people know about it through more understandable ways, such as movies, documentaries, etc., to experience the beauty of ceramic crafts, to export more elegant and exquisite ceramic products, and to let more people experience and marvel at the greatness of Chinese ceramic culture.
======The role of film in the dissemination of ceramic culture======
Film and television media, as the propaganda carrier, depend on television, film and network and otthers for information dissemination.（Li Chunning 2011, 70）Film and television media can give people visually watch and enjoy the contents showed in them, so that people can feel intimate, vivid images. With vivid content displayed in front of audience, they are easy to be accepted and recognized by the audience. The film "China Flower" and "A Porcelain Vase " exemplify the perfect combination of film and ceramic culture.
The story of " China Flower" is very small, mainly talking about a pair of blue and white porcelain bottles, but although this pair of bottles is ordinary on the surface, its life's glory and humiliation is closely related to the ups and downs of Chinese history.（Zhang Wenjing 2020, 16）The story unfolds in three parallel times, connecting the three pairs of main characters by the blue and white porcelain bottles as the pivot to start its the narration. Although the story unfolds with the blue and white porcelain bottles, it is not limited to the description of the bottles, but also tells the story of the loyal love between two people, national sentiment and even national honor. The pair of blue and white porcelain carries the unrepentant vow between kiln maker of the Yuan Dynasty and his wife, and carries the fearlessness of scholars returning from foreign countries for study in the late Qing Dynasty in the face of the waning dynasty's helplessness and dedicating to defend the interests of the nation, presenting the sacrifices made by patriots in that era to preserve the country's cultural relics. The zeal of our forefathers is not only to save the bottles, and to defend the backbone and fortitude of the Chinese nation, but also displays their eagerness for a bright future of this nation. Although the film does not show a lot of footage about the manufacturing of ceramics, but intersperses with a lot of authentic ceramic knowledge, such as the film in the choice of different porcelain in different scenes, which are very good to promote the ceramic culture.
The film " A Porcelain Vase ", shot in 1979, has distinctive features of that era, and the most striking of which is the ceramic elements. The film begins by telling the audience a poignant legend related to Ji Hong(sacrificial red, intepreted literally), a kind of porcelain, which also sets a tragic tone for the whole story. Sacrificial red is not gaudy, red with a slight purple, no cracked texture in the glaze, is the treasures in color glaze porcelain.（Zhang Wenjing 2020, 17）
The story of the film " A Porcelain Vase " happened in the Ming Dynasty. The emperor asked Jingdezhen porcelain workers to fire the porcelain within 3 days, or all workers would be beheaded, which was obviously a great challenge for the craftsmanship at the time. When everyone was desperate, Linglong, the daughter of an old worker, jumped into the kiln and sacrificed herself to create thel red porcelian vase. There are several versions of this legend about the sacrificial red, but the one in this film is the most widely circulated. Some versions call this red glaze "beauty drunk"(美人醉), but the general content is the same. Ceramic folk tales, although most of them are fictional, some of them also add a certain mythological color, but they all express the good wish of ancient working people and porcelain workers. It is their pursuit of ideal and faith under the historical conditions at that time. At the same time, it also reflects the spirit of struggle of the people at that time to defy hardship, tenacity and unyielding, not afraid of sacrifice.（Wang Lun 2021, 45）
Many of the more professional traditional culture is difficult to carry forward and spread out, because its professionalism is too strong, away from people's daily lives, so it is difficult for people to resonate. And ceramic culture is a regional culture, requiring a high degree of professionalism, a lot of professional background knowledge and skills, which can not be easily get obtained by the ordinary people. But the film can lead people together to appreciate the shape, color and historical connotations of Chinese ceramics This is an aesthetic activity that the public can participate in, which is also the advantage of film and television in the dissemination of ceramic culture.
======Cross-border trade for the dissemination of ceramic culture======
In a sense, artifacts are much easier to spread across national borders than culture.（Chen Shali 2020, 181）Chinese ceramic has tri-status in society, that is, at the intersection of daily life, commerce and art, and is both a practical object, a commodity, and a work of art and a collection, closely related to social behavior, long-distance trade and upper-class taste, providing the world with a unique perspective on world history. Whether for political purposes or commercial interests, trade has become an important vehicle for Chinese cultural exports, and each ceramic object exported to the outside world carries the ideas and emotions that Chinese culture seeks to express. According to statistics, China ranks first in the world in terms of the value of ceramic production and export each year, with daily-use ceramics accounting for about 70%, artistic porcelain for 65%, and architectural porcelain for 50%.（Wang Fang 2017, 165）
The famous Italian traveler Mark Polo appreciated Dehua porcelain in his travelogue: "The porcelain are plentiful and beautiful!", and after he returned to his country, the Dehua porcelain was brought back to be treasured in St. Mark's Cathedral in Venice, which was known to the world as "Marco Polo porcelain" and became the first piece of Chinese porcelain arrived in Europe in the written record.
Another high point in the spread of Chinese ceramic culture in Europe came during Zheng He's voyage to the West during the Ming Dynasty, when large quantities of fine Chinese porcelain entered the European public's view and the message of Chinese culture it carried was widely disseminated. （Tan lijun 2020, 80）On their return voyage, the fleet also carried a large number of foreign goods, including the important pigment for blue and white porcelain, smalt, which was produced in West Asia. The vigorous development of Sino-foreign trade and commerce greatly promoted the circulation of Chinese ceramics around the world and the extraterritorial spread of Chinese culture. It is probably not unfamiliar for the people about the blue and white porcelain, which has been the leading porcelain type in China for more than a century. But the blue and white porcelain is not a completely local product, but the result of the collision between Chinese culture and Islamic culture. The Chinese do not have the national psychological tendency of white and blue, but the merchants in the Persian region of West Asia know that China's Jingdezhen can produce high-quality white porcelain, and they love blue.With the combination of the smalt of Persian region and Jingdezhen quality white porcelain, porcelain decoration in addition to the traditional landscape, figures, flowers and birds, etc., but also adds the decorative patterns with Islamic cultural characteristics, thus creating the world-renowned blue and white porcelain.
Chinese ceramics influenced by the outside cultures, but while Chinese ceramics in the sale to Europe, it also cast influences on the outside world, such as the 18th century Rococo art, an European art style, characterized by flamboyance, elegance, and Chinese blue and white porcelain is rich in rustic, fantasy and elegant features, these characteristics just in line with the European aesthetic orientation during the "Rococo art" period. This influence can be bluntly said to be the product of the borrowing and integration of Western and Chinese culture and art.（Hong Lin 2018, 19）This reflects the two-way influence of cultural transmission, that is, Chinese ceramic culture in the process of spreading will accept the influence of the outside world, and in turn it will also have a certain influence on the outside world.

===Conclusion===
Chinese ceramic culture has a long history, from the beginning of the Neolithic period of household ceramics, but then with increasingly rich types of ceramics, and ceramic skills are more and more exquisite, glaze colors are also more and more rich, creating a lot of prestigious ceramic products. Film and television have brought ceramic culture to the audience in a more interesting and intuitive way, making it easier for ceramic culture to enter the hearts and minds of the public. Transnational trade in ceramics allows Chinese ceramics to go beyond the borders of China, allowing people around the world to experience and appreciate Chinese ceramic culture and its beauty together. Chinese ceramics culture is profound and long-standing, and is a representative and symbol of the soft power of traditional Chinese culture. From the perspective of spiritual culture, ceramic culture contains a rich social connotation, and different periods of social development represent different Chinese cultural spirits. Ceramic culture has been continuously inherited, developed and innovated in the long history. Nowadays, in the new century when Chinese and Western cultures are colliding with each other, how to protect these traditional cultural resources and pass them on permanently requires the efforts of all people. To maintain the vitality and vitality of Chinese culture, we need to take the initiative to go out and interact with the excellent cultures of the world's ethnic groups. Continuously learning, borrowing and absorbing the excellent cultures of the world's ethnic groups is a must for the great rejuvenation of the Chinese nation.
Promoting the dissemination of ceramic culture helps the innovative development of ceramic culture and art in the new era. For ceramic culture to develop in the long run, it is necessary to not only keep the tradition, but also to focus on the actual needs of modern society and achieve innovation. The creative transformation and innovative development of traditional ceramic culture will enable the Chinese nation to participate in world cultural exchanges with a stronger cultural confidence.

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[15] Wang Lun&Sun Jingyi王伦 & 孙静艺.(2021).文化自信指引下中国陶瓷故事域外阐述[Telling Chinese Ceramic Stories Overseas under the Guidance of Cultural Confidence]. 中国陶瓷工业(China Ceramic Industry)(06),42-45.
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==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

[1] 王雪明,刘奕.中国百年科幻小说译介:回顾与展望[J].中国翻译,2015,36(06):28-33+128.

[2] 姜倩. 幻想与现实：二十世纪科幻小说在中国的译介[D].复旦大学,2006.

[3] 黄唯唯.《三体》的英译研究——让中国式科幻走向世界[J].湖北第二师范学院学报,2016,33(09):125-128.

[4] 孔庆东.中国科幻小说概说[J].涪陵师范学院学报,2003(03):37-45.

[5] 高茜,王晓辉.中国科幻小说英译发展述评:2000-2020年[J].中国翻译,2021,42(05):57-64+192.

[6] 梁昊文.中国当代科幻小说外译及其研究述评[J].广东外语外贸大学学报,2019,30(01):41-46+52.

[7] 徐伟彬.科幻小说翻译的科学意义[J].湖州师范学院学报,2002(05):22-25.

[8] 任冬梅.新世纪以来中国科幻小说的现状及前景[J].当代文坛,2018(03):140-145.

[9] 吴岩.论科幻小说的概念[J].昆明师范高等专科学校学报,2004(01):5-9.

[10] 吴赟,何敏.《三体》在美国的译介之旅:语境、主体与策略[J].外国语(上海外国语大学学报),2019,42(01):94-102.

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Transmission of Contemporary Chinese Literature in English-speaking Countries: A Case Study of ''Red Sorghum'''''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===
In the globalization pattern of cultural pluralism and coexistence, it is the top priority of cultural construction and reform to enhance the global influence of Chinese culture and spread and promote Chinese culture to the world. It is our goal to promote Chinese culture to go global, and the translation of Chinese literature into foreign languages is an important means to achieve this goal. However, this process is not always smooth, and as the process of "going global" in China is hindered, people gradually realize that many factors other than the act of translation are affecting the "going global" of Chinese culture.

Mo Yan is a leading figure in contemporary Chinese literature, and after winning the Nobel Prize for Literature, the attention and sales of his works abroad have increased dramatically. At a time when translations of Chinese contemporary literature have repeatedly suffered setbacks, the successful translation of Mo Yan's novels has sounded the trumpet of victory. This paper analyzes the importance, current situation and reasons for the "going global" of contemporary literature with reference to Andre Lefevere's theory of "three elements" (patronage, ideology and poetics), and studies the successful translation of Mo Yan's masterpiece ''Red Sorghum'' overseas. The study of the successful translation of ''Red Sorghum'' overseas, and the exploration of the effective translation mode of contemporary literature in China, are hoping to contribute to Chinese contemporary literature's going global.

===Key words===
contemporary Chinese literature; transmission; ''Red Sorghum''

===Introduction===
With the further development of globalization, it is no longer a pure economic phenomenon. What accompanies economic globalization is political globalization and the exchange, collision and integration of "soft power" with cultural ideas, ideologies and values as its basic connotation across national borders. Culture is an important symbol of a country's soft power and plays an increasingly prominent role in the competition for comprehensive national power. The globalization of cultural communication has become a social reality that cannot be ignored. (Xu Wen 2013: 96) Different countries, nationalities and cultures want to communicate with each other, so that cultural communication can break through the original national boundaries and geographical restrictions, and eventually get out of the narrow and prejudiced national culture and gain recognition in the global scope.

The "going global" of Chinese culture has been elevated to a national strategic level, and the translation of contemporary Chinese literature, as an important carrier of culture, has assumed the primary task. However, it must be admitted that Chinese literature in general is still in a marginal position in the field of world literature. From the overall situation of translation and dissemination of Chinese contemporary literature, the problems of poor quality of translation, few number of publications, and low overseas acceptance are very prominent. According to statistics, during the nearly 110 years from the beginning of 1900s to the beginning of 2000s, China translated and introduced about 100,000 Western books, while the West introduced less than 500 Chinese books. In recent years, China has introduced about 150 American books in a year, while the United States has imported less than 10 Chinese literary works. (Bao Xiaoying 2015: 80) There is an obvious imbalance between the export and import of literature. Thus, it is clear that there is a long way to go for Chinese contemporary literature to "go global".

On October 11, 2012, Mo Yan was awarded the Nobel Prize in Literature, becoming the first Chinese writer to win the Nobel Prize in Literature. Since then, the popularity of contemporary Chinese literature in the world literary scene has increased dramatically, more readers from abroad have begun to pay attention to the works of contemporary Chinese writers, and the attention of overseas academic circles has also begun to focus on Chinese literature. This has offered a good opportunity for Chinese contemporary literature to go global, and also put forward new ideas for the study of translation and dissemination of Chinese contemporary literature overseas.

Since 1988, Mo Yan’s works have been translated into English, French, Spanish, German, Swedish, Russian, Japanese and other languages. As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. At the same time, as the first novel to be translated overseas and immediately gain acclaim and access to Western commercial channels, ''Red Sorghum'' has set a model for the translation and transmission of contemporary Chinese literature.

This paper takes Howard Goldblatt's translation of ''Red Sorghum'' as a case study to examine the overseas transmission and acceptance of this translation on the basis of previous studies, so as to provide some inspiration for the transmission of contemporary Chinese literature. Due to the limitations of language, this paper will only talk about the translation and transmission of contemporary Chinese literature in English-speaking countries.

===The Importance of Contemporary Chinese Literature Going Global===
Culture has always been an important factor affecting national competitiveness. All major countries in the world have made the improvement of their culture an important national development strategy. Every country, nation and culture wants to exchange with each other, so that their culture can break through the original national boundaries and geographical restrictions and achieve a wider and deeper dissemination. At present, "Chinese literature going global" is flourishing, and the translation of Chinese literature has become an important part of spreading Chinese culture (Bao Xiaoying 2013: 62). Since the 21st century, China has devoted itself to the translation and interpretation of Chinese literature, and has launched a series of publication projects on the translation and dissemination of Chinese literature. At the same time, many journals of Chinese literature in English translation have been established to promote contemporary Chinese literature to the English-speaking world (Yu Hong 2021: 112).

Culture is an important symbol of a country's "soft power" and a symbol of its influence and cohesion. Culture as a soft power plays an increasingly prominent role in the competition for comprehensive national power. Culture has always been an important factor in national competitiveness. Having a strong "cultural soft power" means being able to win the initiative in the fierce international competition. Without cultural soft power, a country has no connotation, no support, and cannot become a real major country.

The strategy of "going global" of Chinese culture was first proposed in the mid-1990s. The "going global" strategy is a major initiative in the new stage of opening up to the outside world. Since then, the "going global" strategy has been expanded from the economic field to the cultural field, and relevant documents have been issued one after another.

Chinese culture "going global" has two basic meanings: First, it is the dissemination of Chinese cultural ideas and cultural forms to the world through cultural exchange. Second, it refers to the export of cultural products and services in international trade (Xiao Yingying 2012: 84). Compared with developed countries in the West, China has a serious "cognitive deficit" in cultural trade, from ideas, cultural symbols to cultural products, and many countries still have a fragmented, one-sided and superficial understanding of Chinese culture. China's economy is growing, but it is still in a weak position in terms of cultural soft power, such as cultural communication and influence, and cultural weakness, which can only be solved by developing cultural industries and communicating with other cultures (Bao Xiaoying 2014: 7).

Communication is the nature of culture, through which different cultures can be perceived. In today's globalization, cross-cultural communication affects people's thought and behavior from different aspects. Translation has always played a very important role in the process of intercultural communication. Translation is not only the conversion of language, but also the transmission of culture. Translation can spread new ideas, new concepts and new technologies, promote cultural exchange and progress, as well as promoting the common development of different cultures. Throughout the history of Chinese and foreign cultures, it is evident that translation has played a great role in spreading cultures in the world. Translation has greatly enriched the exchange and dissemination of Chinese and foreign ideas.

Above all, translation bridges the language barrier between different cultural societies, contributes to the exchange and interaction of cultural information with other countries, facilitates the common development of national cultures, and promotes the sharing of human civilization. "The development within a country and the establishment of its international status depend largely on cultural soft power, and cultural soft power, whether imported or exported, is, in our opinion, first and foremost a translation issue." (Xu Jun 2012: 12) The current strategy of "going global" of Chinese culture advocated by the Chinese government is, in a small way, to export our "cultural soft power" through the power of "translation", and in a larger way, to enhance China's "international status" (Hu Anjiang 2012: 56).

The translation, publication and dissemination of Chinese literature have become an important part of China's cultural outreach. The world needs to observe China through Chinese literature, and China needs to show its true image through literature. Without the role of translation as a medium and without the outreach of translated texts, the outreach of Chinese culture will only be empty talk. It has always been the goal of the country to promote the "going global" of Chinese culture through the translation of Chinese classics (Bao Xiaoying 2013: 54).

===Transmission of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present) (Wan Yu 2021: 220).

In the first stage, China had fewer exchanges with English-speaking countries due to political-ideological conflicts. As a result, relatively few foreign-led publications of contemporary Chinese literature were published during this phase. In the first stage, contemporary Chinese literature translated to English-speaking countries focused more on social and political aspects than on literary aspects.

In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. Compared with the first stage, except for the selection of materials that glorified the revolution and took the working and peasant classes as the main characters in the early period of the founding of the PRC, the domestic publishing institutions were more strict about the themes of translated works during the Cultural Revolution. During this period, more works related to revolution and reflecting class struggle came to the English-speaking countries.

In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some works of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions didn't pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. Meanwhile, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak.

Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than publicity; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and markets. The English-speaking world, Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

Since Mo Yan was awarded the Nobel Prize for Literature, a large amount of Chinese literature, represented by his works, has been translated into the United States and other parts of the world. However, data show that translated works account for only 3% of the total number of publications in the United States, of which less than 1% are literary translations, indicating that the American public does not have an urgent and strong intrinsic need for foreign literature and culture (Xie Tianzhen 2019: 95).

===The Successful Transmission of ''Red Sorghum''===
'''Brief Introduction to ''Red Sorghum'''''

''Red Sorghum'' is a long novel written by Mo Yan, divided into five chapters: ''Red Sorghum'', ''Sorghum Wine'', ''Dog Ways'', ''Sorghum Funeral'', and ''Strange Death''. The five chapters were first published as novellas, of which ''Red Sorghum'' was first published in ''People’s Literature'' in 1986.

''Red Sorghum'' is a family saga of Yu Zhan-ao and Dai Fenglian(identified as Granddad and Grandma from a boy’s perspective), covering their romance, their spontaneous resistance against the Japanese invaders between 1939 and 1941. This novel is set in the fields of dense, tall, red sorghum plants in Northeast Gaomi Township, Shandong Province, China, hence the title ''Red Sorghum''. ''Red Sorghum'' is a classic work that shows the tenacity and national spirits of the Gaomi people in the Anti-Japanese war.

'''Translation and Transmission of ''Red Sorghum'''''

In 1988, Mo Yan’s work ''Dry River'' was first translated and published in Japan, and in 1999, a total of 54 foreign translations of Mo Yan’s works were published during the 11 years, focusing on three works: ''Red Sorghum'', ''Red Sorghum'' and ''The Garlic Ballads''. A total of 30 overseas publications of ''Red Sorghum'' and ''Red Sorghum'' accounted for nearly 60% of the total overseas publications of Mo Yan’s works during this period.

As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. Compared to most Chinese literary works that do not sell well overseas, the sales of ''Red Sorghum'' are more optimistic. According to scholar Bao Xiaoying’s statistics, the English version of ''Red Sorghum'' was published in 1993 and sold more than 50,000 copies in a dozen years, which is not bad sales.

A very important indicator of the reach of a Chinese work of literature in the United States is the number of U.S. libraries that collect the work. If the number of U.S. libraries collecting the work is high, it means that the work is widely distributed in the United States, and vice versa (Liu Guozhi, Chi Changhai. Li Qingliu 2022: 60).

According to the table of the top 10 ranking of the dissemination of English-translated Chinese contemporary novels published in the United States, it can be seen that the English-translated novel ''Red Sorghum'' ranks third overall among the Chinese contemporary novels published and disseminated in the United States. It can be said that ''Red Sorghum'' is the most widely distributed Chinese contemporary novel in the United States. Table 2 shows the collections of public and community libraries and libraries of universities and research institutions in different states. It also shows the ranking and distribution of the top ten states in the United States for the distribution of the novel ''Red Sorghum'' in English translation. Six of the top ten states have more than 40% of the public and community libraries collecting ''Red Sorghum'': 50% in Ohio, 49.23% in Illinois, 48.92% in California, 43.90% in Florida, 43.24% in North Carolina, and 41.27% in Texas, with Ohio accounting for half of the public and community libraries. . These data indicate that the Chinese contemporary novel ''Red Sorghum'' has entered public and community libraries in the U.S., showing that the structure of Chinese contemporary fiction distribution and readership in the U.S. is changing, shifting from its previous distribution primarily in universities and research institutions to the general public. (Two tables mentioned cannnot be uploaded)

'''The Reasons for ''Red Sorghum's'' Successful Transmission'''

The popularity of ''Red Sorghum'' overseas was made possible by many factors. The film of the same name is the pioneer. Thanks to the award-winning film, the translation and dissemination of the novel was promoted overseas. Coupled with the unique perspective and content of the work itself, and the translator Howard Goldblatt’s promotion and personalized translation, the successful transmission of this work was achieved.

'''The Literary Value of the Work Itself'''

Mo Yan, born in 1956 in Gaomi County, Shandong Province. ''Red Sorghum'' is based on the life of his hometown during the anti-Japanese war. Unlike other anti-Japanese literature, Mo Yan's anti-Japanese story is told from the perspective of ordinary people, which is more real and deeper. Mo Yan's literary works often portray original life with bold, mischievous depictions that resonate strongly with readers and shock them. In this novel, there is both questioning and rebellion against existing traditional values, as well as profound analysis of feudal ethics and human nature.

The theme of ''Red Sorghum'' is not only to promote the idea of living a bold, emancipated and frank life, but also to celebrate the patriotic spirit of the heroic resistance to Japan. The so-called "personality liberation" refers to the liberation of the "human" personality. Human being" is the unity of "spirit" and "flesh", "divinity" and "bestiality", "spirit" and "matter", "social man" and "natural man". Man has a "natural human nature", that is "human's" survival instincts and natural desires.

The novel ''Red Sorghum'' not only promotes the liberation of individuality, but also celebrates the tenacity and sacrificial spirit of anti-Japanese patriotism. This dual theme of enlightenment and salvation in literature is an inheritance of the May Fourth tradition. Both the May Fourth movement and the New Culture Movement happened at a time of increasing imperialist aggression against China and a sense of national crisis and the increasingly urgent historical requirement for national self-improvement, self-reliance and salvation.

'''The Pioneering Role of the Film ''Red Sorghum'''''

In today's era of new media, for many readers, they first come to the original work through an adaptation of the work, such as a film or television production. In other words, these readers get to know a literary work or a writer through a film or television work (Hao Dan 2019: 58). In fact, this is how foreign publishers and readers come to know Mo Yan and his ''Red Sorghum''. In 1988, the movie ''Red Sorghum'' directed by Zhang Yimou was released in Canada, the United States and other places. It is worth noting that not only the movie is adapted from Mo Yan's novel ''Red Sorghum'', but its screenwriting team also includes Mo Yan himself. In 1986, when Zhang Yimou decided to make the movie, Mo Yan only received 800 yuan in royalties and 1200 yuan in screenwriting fees. He would not have imagined that in the fifth year after the film's release (1993), the English translation of ''Red Sorghum'' would be published by Penguin Publishing in the United States, with a first printing of 10,000 copies. The number of its first printing is not large, but it is very rare for a contemporary Chinese writer in the early 1990s to have such a publishing opportunity and achievement in the United States. In addition, in 2004, when the American Arcade Press published Mo Yan's another work Big Breasts and Wide Hips, the publisher still mentioned the film ''Red Sorghum'' in the recommendation, which shows the role of the film in the dissemination of Mo Yan's novel.

It can be said that the translation and publication of the English translation of ''Red Sorghum'' is mainly based on the impressive international achievements of the film: in 1988, the film won the Golden Bear Award at the 38th Berlin International Film Festival, the Best Film Award, the Best Director Award, the True Novelty Award for feature films at the 5th Zimbabwe International Film Festival, the Film Critics Award at the 35th Sydney International Film Festival, the 1st Marseille International Film Festival in Morocco, and the Golden Bear Award for the Best Film at the 16th Brussels International Film Festival. In 1989, the film won the Best Film Award from the Radio Audience Jury at the 16th Brussels International Film Festival and the Silver Bear Award at the 5th Montreal World Film Festival in France; in 1990, the film was nominated for the annual prize of the GDR Filmmaker's Association for the ten best feature films of the annual Cuban Film Distribution Awards. Shortly after the film won the awards, Viking Penguin Press took the initiative to invite Howard Goldblatt to translate Mo Yan's ''Red Sorghum''. Of course, the translation of Mo Yan's work into English did not begin with ''Red Sorghum'', but prior to the award-winning film ''Red Sorghum'', Mo Yan's work had never been published in a single volume by a publisher in the English-speaking world.

'''Howard Goldblatt's Translation and Promotion'''

When it comes to the transmission of ''Red Sorghum'' in the English-speaking world, the contribution of its translator, Howard Goldblatt, cannot be overlooked. Howard Goldblatt is a well-known American sinologist and translator who has a high level of attainment in the study of contemporary Chinese literature, and has translated a large number of Chinese literary works. He was born in 1939 in California, USA. Later, while attending the U.S. Naval Officer's School, he was sent to serve in Taipei. While serving, Howard Goldblatt learned Chinese and read books to kill time, and gradually fell in love with Chinese culture. After studying Chinese at the National Taiwan Normal University for about a year, his Chinese language skills improved greatly. Later, he entered San Francisco State University and systematically studied Chinese language and literature. Because of his love for Chinese language and literature, He worked as a Chinese language teacher for one year after graduating with his master's degree. In order to continue to improve his Chinese language, he entered the Department of East Asian Languages at Indiana University to pursue a PhD in Chinese literature. In 1984, with his active leadership and assistance, ''Modern Chinese Literature'', a scholarly journal devoted to Chinese literature, was launched, with Howard Goldblatt as editor-in-chief, giving readers in the English-speaking world the opportunity to read Chinese literature, which contributed greatly to the promotion of Chinese literature.

As a confidant of Chinese literature, Howard Goldblatt has never stopped studying and translating Chinese literature for more than thirty years. His profound knowledge of both Chinese and English, good knowledge of Chinese literature, keen literary insight, and excellent translation skills have contributed to the achievement of Mo Yan, who was awarded the Nobel Prize for Literature, as well as to the dissemination of Chinese literature in the world and to the equal dialogue with world literature.

After Mo Yan won the Nobel Prize, almost everyone said that it was the translator Howard Goldblatt who made Mo Yan a success, and this is not an exaggeration. In terms of the text itself, there are two conditions for a work of contemporary Chinese literature to get the attention of publishers in English-speaking countries: one is a good story, and another is an authentic translation. A well-told story is a response to the cultural psychology and reading habits of the target readers. A good translation is very important in the translation of Mo Yan's works, because most of Mo Yan's novels have a unique Chinese historical background and profound Chinese traditional cultural connotation. Although he is known to the world literary world as a "storyteller", if the translator fails to translate the Chinese history and culture implied behind the Chinese language as effectively as possible into a language that can be understood by English-speaking readers, the transmission and popularity of these works will be difficult to achieve.

'''The Role of Publishing Brokers and Houses'''

For the works of Chinese writers to spread overseas, they must be supported and promoted by authoritative publishing brokers and publishing companies. The reason why Mo Yan's ''Red Sorghum'' is so popular in English-speaking countries is the support of his publishing agent team and Arcade Publishing.

Beijing Genuine&Profound Culture Media Co.,LTD.(hereinafter referred to as "Genuine&Profound") actually plays the role of a copyright agent for Mo Yan's works, responsible for developing the value of Mo Yan's works and planning the publication and distribution of Mo Yan's works. As the book publishing industry becomes more open and free, contemporary Chinese writers have had more knowledge of the publishing market, and some of them have realized the importance of publishing agents. A publishing agent, often called a copyright agent, is a middleman or intermediary that connects a work with a publisher. A publishing agent signs a copyright agency contract with a writer, and then helps the writer find a publishing platform for the work or an opportunity to exploit subsidiary rights related to the work. The services of a publishing agent are what Genuine&Profound provides for Mo Yan.

The uniqueness of Genuine&Profound lies in the fact that it has proposed the business model of "360°celebrity brokerage" for the first time in the industry. This service includes paper book publishing, digital rights management and promotion, promotion of film and television rights of literary works, brokerage of famous artists' artworks, promotion of famous artists' business and social activities, provision of artwork trading platforms, development and sales of derivatives, and legal protection of rights. With respect to Mo Yan's works, it believes that the value of Mo Yan is not only reflected in the publication and distribution of his Chinese works, but also in the overseas publication rights of paper books, film and television adaptation rights, digital publication rights, sales rights of calligraphy works and other subsidiary rights related to them.

The man behind Arcade Publishing, which has published five titles of Mo Yan's works in English translation, is in fact Richard Seaver, Mo Yan's most important advisor in the American publishing world. Arcade Publishing was established by Richard Seaver in 1988 to publish fiction and non-fiction literature. After Richard's death in 2009, Arcade went bankrupt and was acquired by Pegasus Publishing in July of the following year, and relaunched in 2011 under the name Pegasus, with its main focus remaining the same and the addition of some art books (Hao Dan 2019: 59). Today, Arcade Publishing has published nearly 300 authors from over 30 countries. Arcade Publishing has always been a great admirer of Mo Yan's works, and the front page of Arcade's official website has for quite some time read: Arcade and Skyhorse congratulate Mo Yan on winning the 2012 Nobel Prize for Literature". Unfortunately, Richard passed away without waiting for Mo Yan to win the Nobel Prize, but his remarkable vision and solidity as a publisher have made him immortal.

===Conclusion===
Literary works that "go global" should have both universal and heterogeneous qualities in themselves. Universality can resonate with overseas authors, while the unique local characteristics of the works excite readers' interest (Zhang Lijun, Yu Huijun 2021: 92).

Another important factor in the success of Mo Yan's overseas distribution was mentioned earlier: the overseas influence of Zhang Yimou's film. The huge market for films often plays an excellent role in advertising and rapidly promotes the translation and publication of original literary works overseas. The spread and influence of contemporary Chinese literature and Chinese films overseas actually help each other. On the one hand, this shows that outstanding literary scripts are an important basis for the success of films; on the other hand, it also shows that successful film operations will produce a chain effect that can lead to a series of related cultural industries.

In addition, in the process of Chinese literature going global the selection of translation subjects is crucial. Local translators in China do not know enough about the reading habits of Western readers and lack in-depth research on the literary publishing market, so the dissemination of works translated by them is inevitably hindered abroad. In contrast, foreign sinologists have the unique advantage of being the ideal translators for Chinese literature to go global. Local Chinese translators are more likely to perceive Chinese characteristics and outstanding literary works, while the group of sinologists has a deeper understanding of the target language readership and dissemination. The advantages of both complement each other, thus promoting Chinese literature to go out better.

In addition, nowadays, in the context of globalization, it is also very important to establish a good relationship with foreign well-known publishing institutions. ''Red Sorghum'' was released by a well-known foreign publisher, so that it could be more widely known by its target readers. The most important thing is that major publishers can get a good understanding of the market, which is conducive to the dissemination of Chinese literature in the West.

The experience of the successful dissemination of ''Red Sorghum'' shows that for contemporary Chinese literature to go global, not only is there a requirement for the quality and cultural value of the work itself, but there is also a need for reliable translators and authoritative publishing partners.

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Bao Xiaoying鲍晓英. (2014) 中国文学“走出去”译介模式研究——以莫言英译作品美国译介为例[Study on the Translation and Communication Model for Chinese Literature Going Out—with the Communication of Mo Yan's English Translations in America as an Example][C]. Shanghai International Studies University上海外国语大学.

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Hu Anjiang胡安江. (2012) 再论中国文学“走出去”之译者模式及翻译策略——以寒山诗在英语世界的传播为例[The Translation Model and the Translating Strategy Revisited—with the Dissemination of Cold Mountain Poems in the English World as an Example][J]. ''外语教学理论与实践'' [Foreign Language Learning Theory and Practice] (4): 55-61.

Hao Dan郝丹. (2019) 莫言作品英译本的出版传播经验研究[A Study of the Publication and Dissemination Experience of Mo Yan's Works in English Translation][J]. ''对外传播'' [International Communications] (06): 58-60.

Liu Guozhi, Chi Changhai, Li Qingliu刘国芝，池昌海，李清柳. (2022) 英译小说《红高粱》在美国的传播与接受[Dissemination and Reception of the English Translation of Red Sorghum in America][J]. ''中国翻译'' [Chinese Translators Journal] 43(02): 59-66.

Wan Yu万聿. (2021) 中国当代文学英译概览与研究综述[Overview and Research Review of English Translation of Contemporary Chinese Literature][J]. ''复旦外国语言文学论丛'' [Fudan Forum on Foreign Languages and Literature] (02): 215-223.

Xu Jun许钧. (2012) 翻译研究之用及其可能的出路[Translation Studies in China: Its Functions and a Possible Direction for Its Further Development][J]. ''中国翻译'' [Chinese Translators Journal] (1): 5-12.

Xie Tianzhen谢天振. (2019) 译介学:理念创新与学术前景[Medio-translatology: Its Innovative Concepts and Academic Prospects][J]. ''外语学刊'' [Foreign Language Research] (04): 95-102.

Xu Wen徐稳. (2013) 全球化背景下当代中国文化传播的困境与出路[The Dilemma and Solution of the Advanced Culture Transmission under the Background of Globalization][J]. ''山东大学学报（哲学社会科学版）'' [Journal of Shandong University(Philosophy and Social Sciences)] (4): 96-103.

Xiao Yingying萧盈盈. (2012) 中华文化走出去的现状分析与发展思考[Analysis of the Current Situation and Development of Chinese Culture Going Out][J]. ''现代传播'' [Modern Communication] (1): 84-86.

Yu Hong于虹. (2021) 译介学与中国现当代文学在美国的翻译与传播[Medio-translatology and the Translation and Dissemination of Contemporary Chinese Literature in America][J]. ''外语学''刊 [Foreign Language Research] (02): 112-115.

Zhang Lijun, Yu Huijun张丽君，余慧君. (2021) 有声与无声——莫言《红高粱》海外传播的启示[Sound and Silence—Enlightenment of Mo Yan's Red Sorghum's Overseas Communication][J]. ''文化创新比较研究'' [Comparative Study of Cultural Innovation] 5(21): 89-92.

===Terms and expressions===
《红高粱家族》 ''Red Sorghum''

诺贝尔文学奖 the Nobel Prize for Literature

安德烈·勒菲弗尔Andre Lefevere

三要素理论 "three elements" (patronage, ideology and poetics)

葛浩文 Howard Goldblatt

文革 the Cultural Revolution

《枯河》 ''Dry River''

《天堂蒜薹之歌》 ''The Garlic Ballads''

企鹅出版公司 Penguin Publishing

《丰乳肥臀》 ''Big Breasts and Wide Hips''

柏林国际电影节 Berlin International Film Festival

津巴布韦国际电影节 Zimbabwe International Film Festival

悉尼国际电影节 Sidney International Film Festival

马拉什国际电影电视节 Mar del Plata Film Festival

布鲁塞尔国际电影节 Bruxelles International Film Festival

蒙彼利埃国际电影节 Montreal World Film Festival

《中国现代文学》 ''Modern Chinese Literature''

北京精典博维文化传媒有限公司 Beijing Genuine&Profound Culture Media Co.,LTD.

拱廊出版公司 Arcade Publishing

理查德·西维尔 Richard Seaver

===Questions===
1. What's the "three elements" put forward by Lefevere?

2. How many American books has China introduced in a year recently?

3. When was Mo Yan awarded the Nobel Prize in Literature?

4. Which novel is the most translated and reprinted work of Mo Yan?

5. How many stages are there in the history of contemporary Chinese literature in English-speaking countries?

6. What are the reasons for ''Red Sorghum's'' successful transmission?

===Answers===
1. Patronage, ideology and poetics.

2. About 150.

3. On October 11, 2012.

4. ''Red Sorghum''

5. Four.

6. The literary value of the work itself; the pioneering role of the film ''Red Sorghum''; Howard Goldblatt's translation and promotion; the role of publishing brokers and houses.

20220630 Culture 5

2022-07-06T14:21:42Z

Liu Shuangying: /* References */

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

==This is the final exam paper website no. 5==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

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

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

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Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.

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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.

Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.

Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.

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Vermeer, H. Skopos Theory of Translation[M]. 1996.

Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.

Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.

Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.

Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.

Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.

Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.

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==英语笔译刘乐乐 Liu Lele 202170081584==
Chinese Online Fantasy Novels：A comparison Between Dragon Raja and Harry Potter
Liu Lele
===Abstract===
Harry Potter and Dragon Raja, two famous fantasy novels, are similar in many ways including plots, character settings and so on. Since the former is famous across the world while the latter have not been translated from Chinese into English yet, we can learn a lot sentence patterns, phrases, and words from Harry Potter when translating Dragon Raja into English.
===Key words===
Dragon Raja; translation material; communication; fantasy
===Introduction===
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.
===Similarities===
Harry Potter starts from the family of Mr. Dursley, the husband of the main character Harry Potter’s aunt, and Dragon Raja also starts from the family of Mr. Lu Gucheng, the uncle of the main character Lu Mingfei.

There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.

In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.

Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.

Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon Raja", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a loser in Dragon Raja. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.

In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.

Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.
===Differences===
As mentioned above, Harry Potter has a lot in common with Dragons, but that doesn't prevent both books from being excellent fantasy novels. Although there are many similarities between the two works at first glance, there are fundamental differences between the two works
"Harry Potter" is mainly based on the British or European wizard culture as the creation, describes an imaginary magical world. The Dragon Race, on the other hand, mainly creates a dragon world based on Nordic mythology. While Harry Potter is full of wizarding legends and English history, Dragons is based on Norse mythology, but mostly borrows from names and allusions.

Most of the stories in harry Potter take place at Hogwarts, so the rest of the books are very brief. Dragons takes place everywhere, not just at Castle College.

In both books, there are special groups with superpowers, wizards and dragon hybrids. But their lifestyles are totally different. Wizards are more isolated and do not generally interact with Muggles; Hybrids, on the other hand, are hidden in the secular world and hold impressive secular power. And when dealing with enemies, wizards can only use magic, which means that only magic can defeat magic in the Harry Potter worldview. In Dragon Race, the hybrids are very willing to use the power of technology. Science is very important in Dragon Race, and the hybrids are always looking for the combination of dragon power and science.

The ultimate villains in Harry Potter are pure-blood believers led by Lord Voldemort, but they still belong to wizards. As far as dragons are concerned, the villains are dragons. Simply put, the villains in Harry Potter are wizards, while the villains in Dragons are other races. Those who are not of our kind have different hearts. So Dragons as a whole reads more murder and hatred than Harry Potter.

Harry Potter is a fairy tale with strong religious significance in essence. There are many fairy tale elements and religious metaphors in it, and more of them are religious thinking to persuade people to be good. "Dragon Raja" is a secular novel for young people from the beginning, most of which is about the discussion of common people themselves.

In Harry Potter, because it is the essence of fairy tale, the protagonist is naturally good, while the villain is naturally evil. The definition of good and evil is very simple and crude. In The Dragon Clan, it seems that the dragon clan is the villain, but the dragon clan described in the book is not necessarily evil. The confrontation between the hybrid and the dragon clan is more for survival status than good or evil.

In fact, there are many differences between the two works. For example, Lumingfield is more close to ordinary people and easier for us to relate to, while Harry is more like imaginary characters.
===Borrowing from Similarities===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

3.1Sentence Patterns
(1)The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。
In Dragon Raja, it is the same case. So we can translate the above sentence into:
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.

(2)Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...
这也许是杜斯礼一家搞的恶作剧？
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt. So we can translate the above sentence into:
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?

3.2 Phrases
(1)A deafening shout：震耳欲聋
Both in Harry Potter and in Dragon Raja, there’s people like shouting at the main characters, so we can use this phrase to make a vivid description of it.
(2)Questions exploded inside Harry’s head like fireworks.
These two words , “Explode” and “Fireworks”, together constitutes an lively description of the scene. Lu Mingfei was loaded with questions in his head when starting to know everything about dragons, which sounds unbelievable in the real world.

(3)The rattling cart火车咔嗒响。
Both Harry Potter and Dragon Raja have their special trains lead to the schools. So when depicting the sound a train makes in its way, we can use this phrase.

3.3 Words
Since both of the two are novels, when doing translating, we can meet a lot dialogues, which means the Chinese character--”说(said)” will need various substitutions. Besides, there are many descriptions of movements and expressions. Both these words can be very tricky when doing translating. Fortunately, Harry Potter offers various translations of them.

3.3.1 Words to describe the act of speaking(说）
(1) ...Harry asked urgently.
急忙问道，急切问道。
(2) ...said the boy, with a slight sneer.
男孩冷笑道(3)...said the pale boy carelessly,
男孩面色苍白，漫不经心地说
(4) ...he began
他开始说到
(5)...asked politely
礼貌地问
(6)...asked Seamus with great interest.
饶有兴趣地问
(7)...he said coolly
他冷冷地说

3.3.2 Movements and Expressions
(1) waves merrily at him
开心地朝他招手。
(2) sneaking to the kitchen for some food
溜进厨房找东西吃
(3) collapsed into a chair
一屁股坐下
(4) made both of them jump
两个人都吓了一跳
(5) hamming on the door to wake you up.
捶门叫她起床
(6) drumming their fingers on the glass
手指在玻璃上敲击
(7)his stomach rumbling with hunger
肚子咕咕叫
(8) Harry sighed and stretched out on the bed
哈利叹了口气，在床上躺成“大”字形
===Application in translating===
大脸猫头像跳闪，“诺诺”上线。
The profile of a big-face cat flickered, which means NONO got online.
路明非犹豫了一下，“是你？”
“Is that you?”hesitated a little, Lu Mingfei asked
“嗯，陈墨瞳。”诺诺的回答显得懒洋洋的，“没事上来打两盘。”
“Yeah,it’s me, Chen Motong.”She said carelessly,”Got no better things to do than some gaming.”
“你怎么知道我的ID？”
“How did you get my ID?”
“人肉搜索啊，嘿。你居然用‘明明’这种ID，像女孩似的，还有‘夕阳的刻痕’……你是人妖么？”
“Cyber manhunt. Hey, you took Mingming as your ID. Girlish! And “sunset”,are you sure you are not a ladyboy?
“这都能人肉到？千万保密，那是我来逗我弟玩的。”
“You even knew this?! Please keep this secret for me. That’s for playing some little tricks on my cousin.”
“开玩笑的啦，诺玛搜索到的，这对诺玛小菜一碟。你星际打得不错。”
“Just joking. It’s Noma, our intelligent computer, that got all this information. It’s a piece of cake for her. By the way, you are good at Starcraft.”
“行了，我都输给你了。”
“Come on, I lost to you.”
“是我输，诺玛和我一起打的，我们两个控制一家。最后我知道你在升三级基地，因为诺玛偷偷开了地图，看见了。”
“I should be the loser. I played the game with the help of Noma.
“作弊死全家！”路明非打出这句话。
“Cheaters will have his family completely died.” Lu Mingfei type this sentence.
只是随手，这话在群里大家随便说，没谁真的往心里去。
It’s just an online phrase that were often used and no one would take it seriously.
“我家只有我一个人。”诺诺回复。
“I’ve already got no family to lose.”answered Nono.
路明非愣了一下，“对不起。”
Lu Mingfei was stunned a little, and said,”sorry.”
“这有什么对不起的？”诺诺答得很平淡，“玩一盘？”
“Nothing to feel sorry about.”Nono said carelessly still,”Want a game?”
“没心情。”
“not in the mood.”
“失恋了？”
“Broke up with your girlfriend?”
路明非浑身一个激灵，诺诺像是个小巫婆似的，看穿了他的一切，叫他完全无处容身。
“Lu Mingfei was shocked. Nono’s like a little wizard, seeing through everything of him.He could hide nothing in front of her.
“还没有……我没有女朋友，当然不会失恋了，姐姐你想怎样啊？”他输入。
“How can I break up with my girlfriend when I don’t have a one? So what do you want? Big sister!”He typed.
“姐姐叫得还蛮甜的，”诺诺扔出一个龇牙咧嘴的笑脸，“来吧，说说到底怎么回事，我也许能帮上忙。”
“That’s sweet.”Nono sent him a grinning smile,”Alright, let’s hear it.Maybe I can help you.”
“你帮什么忙？你又不认识她。”
“I doubt that.You don’t know about her.”
“我是不认识陈雯雯。”小巫婆诺诺回复得极快。
“Yeah, I do know nothing about Chen Wenwen.”
“你到底知道多少？”路明非忽地很惊恐。
“How much do you know?”Lu Mingfei suddenly got frightened.
“太多了。”
“too much.”
“你们……到底是谁？”路明非手有点抖。
“Who are you?”Typed Lu Mingfei with trembling fingers.
(1) 路明非在屏幕上无奈地打出“GG”（“GG”，指“Good Game”，在竞技类游戏中称赞对方玩得好，也是认负的意思），而后切出了游戏。屏幕上显示的最后一个场景，是十二艘人类巡洋舰以华丽的大和炮聚焦射击，把他的母巢化作了一滩血水。
Lu mingfei reluctantly typed "GG" (" GG "refers to" Good Game "in a competitive Game) on the screen before cutting out the Game. The final scene shown on the screen was twelve human cruisers firing in focus with their magnificent Yamato guns, turning his brood into a pool of blood.
(2) 他输掉了今天的第六局，胜负比例是零比六，这一次他坚持到了22分23秒才被拿下，不过最终还是被拿下了，对方的微操很好，用的又是人类，人类的机枪兵在这个游戏里是个变态的兵种，出枪速度为零，站住了拔枪就射，收枪就跑，路明非的小狗追不上，在路上就一只只被打爆了。
He lost his game for today 6-0，with round 6 hanging/lasting for 22 minutes 23 seconds. His opponent is very good at micro control, with the use of Terran whose riflemen，capable of shooting in an instant，is extremely strong in the game. stood still pull out a gun shoot, gun ran, Lu MingFei's puppy can catch up, thus getting beaten up one by one.
路明非没啃声儿，切到QQ上，那个戴棒球帽的女孩头像还是灰色的，一动不动。对方没上线，又白等了。他抓了抓脑袋，有点失望。另一个头像倒是跳了起来，是个长得很欠的熊猫。
Lu Mingfei did not answer. Switch into QQ, the profile of a girl wearing a baseball cap stayedgray and quiet there. She wasn't online, and he was just waiting for nothing. Scratching his head, he felt a little upset. The other profile was active though，a very disturbing panda.
===Conclusion===
Both Dragon Raja and Harry Potter are great fantasy novels. Dragon Raja has only been enjoyed in China, which to some extent is because it has no other versions than Chinese ones. Harry Potter has both attracting languages and similar plots with Dragon Raja, so there are things can be learned from it.
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==英语笔译刘双英 Liu Shuangying 202170081585==
<center>'''The Devlopment and Dissemination of Chinese Ceramic Culture'''</center>

<center>Liu Shuangying</center>

===Abstract===
===Key words===
===Introduction===
As China's national strength continues to rise, its economy is growing rapidly, but traditional Chinese culture has not yet been well spread. China was one of the first countries to make pottery, and the birthplace of porcelain. From the current archaeological excavations, the earlist ceramics may be the porcelain products created by primitive people when they found that clay was pounded into mud and coated on a container consisting of grass and wood, and the mud would no longer dissolve in water after firing, and soon they started learning to make objects using only clay.(Guo Yue&Song Lili 2022, 31）
The ceramic culture explored in this paper has a long history, but with the development of the times, today's Chinese ceramic culture is far less flourish than in the past. At a time when the country is vigorously promoting cultural outreach and enhancing cultural confidence across the board, it is especially important to reinvigorate ceramic culture and strengthen the development and dissemination of Chinese ceramic culture. People from other countries in the world do not yet know much about traditional Chinese culture, especially in some specialized fields, such as the pottery-making techniques in ceramic culture, and sometimes the knowledge and terminology in these fields are not well understood by our own Chinese laymen as well, who only know some very basic and superficial things. Foremostly, we have to understand its intrinsic cultural connotation and unique historical value before we can plan for its way out and prepare for its revitalization. Therefore, the dissemination of these traditional cultures requires more effort, time and energy to get out of the country, catering to the strategy of "Chinese culture going out" as stated by General Secretary Xi Jinping, which is also of great practical significance to the Chinese dream of the great rejuvenation of the Chinese nation. Only when the economy and culture develop together, and the most characteristic industries of the nation are exported to the outside world, so that more people can understand its unique characteristics, can a country be truly strong and respected by the world.

===The connotation of ceramic culture===
Ceramics is a general term for pottery and porcelain, and ceramics itself is a kind of arts and crafts, as well as a folk culture, which can be seen in folk and temple in ancient times. Mr. Chen Yuqian combined the practicality and aesthetics of ceramics, the unity of science and technology and plastic art and regional factors to define ceramic culture: the essence of ceramic culture actually refers to the various types of cultural connotations embodied in the process of production to display and sale of ceramics.（Hong Lin 2018, 07）Traditional ceramic culture, commonly speaking, is the way of inheritance preserved by the ancestors of the Chinese nation in the production of ceramics, making objects. It is the evolution of ancient Chinese traditional thought, with local folk customs as the core, reflecting the aesthetic ideas of the people, the pleasure of life and the laws of formal beauty at that time.（Wang Fang 2017, 163）
In the light of the above opinions, I believe that ceramic culture includes not only the crafts of making various kinds of fine ceramics, but also the various ideas incorporated into porcelain by ancient working people when making ceramics. From the very beginning, ceramics were only designed for daily use, but later on, various carving techniques were developed, colors were enriched, painting and calligraphy were incorporated into ceramics, and so on, making ceramics more and more exquisite. And in different periods, ceramics show different appearance, and people's preferences for thier appearances and colors, for each stage of the unique image reflects the social landscape of the period, reflecting the rich historical stories behind the characteristics of the historical form of special periods, such as the famous ceramics of different historical periods, such as the Tang Dynasty’s "Tang Tri-Color Glazed Ceramics", the rich colors of the ceramics had changed the style of plain porcelain in the past, reflecting the openness and inclusiveness of the Tang Dynasty to a certain extent. There are many other famous ceramics of other dynasties that reflect the special connotation of the times and the temperament of the people. This is the ceramic culture hidden deeply in the ceramics, which is worthy of our study and learning, and should be vigorously inherited and developed, which is what our country has been advocating that we should stay true to cultural confidence, requiring the Chinese people to adhere to the excellent Chinese traditional culture and faith. It’s the pride of the advanced culture of socialism with Chinese characteristics. Ceramic culture is also something that should be spread vigorously in the new era, so that we can let more people obtain more specific information about China and enhance its the international status.

===The development of ceramic culture in different dynasties===
Ceramic culture has been an important part of Chinese more than 5,000 years culture, and ceramics have been produced for thousands of years since the ancient times.（Shao Changzong 2022, 01）Ceramic culture began in the Neolithic period, and each historical period has shown different characteristics. During the Tang Dynasty, there is the famous " Tang Tri-Color Glazed Ceramics " ceramic culture, which reflects the characteristics of the pottery skills of the Tang Dynasty. During the Yuan Dynasty, there is the famous "Jingdezhen blue and white porcelian" ceramic culture, and many people know about Chinese ceramics because of the blue and white porcelian. Black pottery, colored pottery, etc., all reflect the characteristics of unique aesthetic skills. Just like our modern life, the things that are popular in different periods will be different, which to a certain extent can also reflect the current social customs and mainstream thinking, so the different types and colors of ceramics presented in different historical periods reflect the ceramic culture, but also reflect the thinking of the people in the society at that time.
======Neolithic Period======
The ancestors living in mainland China during the Neolithic period had already learned to fire pottery for daily use, and some data even show that early wine vessels had already appeared.（Yang Xiao 2020, 43）
The distribution and phasing of Neolithic ceramics in China are often divided according to two major basins: the Yellow River basin is divided into Yangshao culture, Majiayao culture, Qijia culture, Dawenkou culture, Longshan culture and other small branches according to the historical development, and the Yangtze River basin can be divided into Daxi culture, Qujialing culture, Hemudu culture, Majiabin culture, Songze culture and Liangzhu culture. Neolithic pottery is mostly decorated with geometric patterns and red and black colors, which indicates that people have mastered the theory of red and black color change of hematite. According to the information found, the following is a brief introduction to the pottery of the Yangshao and Longshan culture periods.
The Yangshao culture period is dominated by sandy red pottery, brown pottery and clay red pottery, with less gray and black pottery. Color pottery is the most representative kind of pottery in Yangshao culture. Shaoyang culture early pottery production method is mainly done by hand, to the middle and late stages "rotating method" slowly appeared. The surface of the pottery is mainly plain and polished, and the decorations have rope pattern, scratch pattern and so on. Pottery is mainly used for daily life, such as food and drinking utensils. Long Shan culture pottery is dominated by sandy gray and black pottery and clay gray and black pottery, black pottery, brown pottery and red pottery second. During this period, the rotating method has been quite common, hand-made and coil method is still seen in use. The surface text of the ware is mainly rope pattern, chevron pattern, etc., and the types of pottery are also more abundant than during the Yangshao culture.
======Xia, Shang and Zhou Periods======
Xia Shang Zhou pottery is the pottery in the bronze age, so the appearance of the pottery in this period mostly imitate the bronze’s. Early pottery-burning kilns appeared in the Xia Dynasty are similar in appearance to the dome kilns in the north. Although the Shang Dynasty did not stand out in the quality of ceramics, but was the first one created the earliest "glaze", which is applied to the pottery, playing a beautiful and clean role, in addition to slowing down the speed of water seepage of pottery, laying the foundation for the emergence of porcelain. Chinese working people mastered the art of glazing on pottery and invented the real sense of porcelain. Compared with the previous pottery, porcelain is solid and durable, with smooth and beautiful body. The emergence of porcelain techniques is a great progress in the history of the world’s porcelain.（Wang Lun 2021, 44）The primitive porcelain made in the Shang Dynasty, also known as glazed porcelain, with features of bright glaze, bright colors, high hardness, and low water absorption.（Jia Binqiang 2017, 24）
The primitive porcelain of the Shang dynasty is made of kaolin clay, firing above 1200 degrees Celsius, whose color of the clay body is mostly off-white, and the glaze is even and bright, emboding a charming color. These characteristics are basically similar to the conditions that porcelain should have. However, its clay body material is not fine enough, and what’s worse, there is a certain degree of water absorption, no light transmission, poor combination of clay and glaze, and easy to flake.
======The Qin, Han and North-South Dynasties======
The Qin Dynasty saw the emergence of large terracotta figurines, and the most famous of which is what we know today the life-size terra-cotta soliders ans horses in Chin tomb. They are very realistic and tall, and very delicate, which shows that the pottery making technique in China reached a very high level in the Qin Dynasty. During the two Han dynasties, pottery was still dominated by gray pottery, with a variety of shapes, and in addition to living pottery, there were also burial ware and architectural pottery. Most notably, in the Eastern Han Dynasty, the successful firing of celadon ware was another brilliant achievement in the history of Chinese ceramics. In the Han Dynasty, the use of Long(dragon) kiln and the emergence of high-temperature glaze ceramic are most typical. Dragon kiln is the kiln whose roof is closed, the kiln body inclined, the lowest section for the fire chamber, the highest end as a smoke vent, because the kiln body built on the mountain, like a dragon coiled from top to bottom in the mountainside, so named dragon kiln. （Yang Xiao 2020, 44）
Dragon kiln temperature changes quickly, so it can be used to do rapid firing. After solving the problem of raw materials, people can fire more than 1200 degrees Celsius high-temperature glaze porcelain through the dragon kiln. The surfaces of ceramics produced in the Han dynasty usually together decorated by flowing clouds and vivid birds and animals. The decorations are full but not chaotic, and the decorative patterns represent the unique style of the Han dynasty, making ceramics look rustic not dull, such a decorative style has a lot to do with the Han dynasty's strong state power and open cultural mentality.（Hong Lin 2018, 11）
Although the period of the Northern and Southern Dynasties is a more turbulent period in anicent China’s society, but the ethnic groups are living in groups, so they can communicate with each other, achieving ethnic integration, and promoting the development of agriculture and handicrafts around the country to varying degrees. Because from the end of the Eastern Han Dynasty, China appeared last 400 years of division situation, resulting in the decline of handicrafts, especially ceramic handicrafts in a long-term standstill. During the Northern Dynasty, the greatest achievement was the emergence of white porcelain. The emergence of celadon and white porcelain paly a significant role in the appearances of porcelain of the Song Dynasty and the "five famous kilns". White porcelain is based on the development of celadon, the main difference is that the raw materials of white porcelain contain lower content of iron than that of celadon.（Jia Binqiang 2017, 25）This shows that at that time there was an understanding of metal coloring agent, which is a major breakthrough in the history of porcelain in China, laying a foundation for the development of color porcelain later. There are several outstanding decorative features during this period: pile molding, piercing techniques, lotus decoration, etc., all of which show the prosperity of ceramic craftsmanship and decoration in this period.
======The Tang Dynasty======
The Tang Dynasty is more powerful and all the people begin to communicate and exchange more frequently. Compared with the ceramics of the Han Dynasty, the ceramics of the Tang Dynasty are more refined. The " Tang Tri-Color Glazed Ceramics " of the Tang Dynasty is also the most well-known ceramics nowadays, but the Tang Tri-color glazed ceramics is not porcelain but pottery. The word " Tri-color " means colorful, including green, yellow, brown, ochre, red, white, blue, black and other colors. Tri-color glazed pottery is made of white clay, glazed with low-temperature glaze containing lead and using iron, copper, manganese, cobalt and other metals as coloring agents, and baked at a low temperature of 750-850 degrees Celsius. This period the surfaces decoration of ceramics began to focus on humanistic pursuits and life spirit, and the ceramic artisans liked to use plants that are closely related to life to decorate ceramics, such as lotus, linden, peony, etc.. Since the travel of Zhang Qian to the West during the reign of Emperor Wu of the Western Han Dynasty, Buddhist ideas have been introduced to the Central Plains and have had a great impact on Chinese history and even modern social development. （Shao Yu 2022, 89）
The elements mentioned above as the decorative patterns of the wares are the usual elements used by Buddhists. During the Tang Dynasty, along with the increasingly frequent cultural exchanges between China and foreign countries, camels gradually became a favorite subject for artisans and craftsmen, and this preference can be reflected in the production of the Tang Tri-color glazed ceramics, which is the best proof of the cultural openness during the Tang Dynasty. In addition, most of the porcelains of the Tang Dynasty were full and round, which indirectly reflected the aesthetic characteristics of the Tang Dynasty with fat as the beauty. This colorful and splendid artistic expression of the Tang Tri-color glazed ceramics can be seen that the Tang Dynasty had a strong power, advanced economy and frequent foreign exchanges at that time (Sun Jingyi 2016, 31). The fact that ceramics of the Tang Dynasty could develop to such a high level is inseparable from its strong national power. In general, from the Northern Dynasty to the Tang Dynasty, the domestic porcelain production pattern of "Southern Celadon and Northern White porcelain" was formed, with the South mainly producing celadon, which was light and delicate, and the North mainly producing white porcelain, which was solid and fair.
======The Song Dynasty======
The Song Dynasty is the peak of ceramic development, with a rich variety of products. The famous "Five Famous Kilns", namely the Ru, Jun, Ge, Guan and Ding kilns, each had its own characteristics, and the Ru, Jun and Guan kilns are successively monopolized or designated by the royal family to fire imperial porcelain. The Ru kiln originated in the area of Ruzhou and Baofeng. Ru kilns are mainly cyan in color, mostly for civilian life porcelain. In the late Northern Song Dynasty, the government monopolized the Ru kiln which was originally engaged in the production of printed celadon for the civic as the official kiln, exclusively for the palace firing imperial goods. Therefore, the Ru kiln consists of two parts: one is official Ru kiln, dedicated to the court to burn imperial porcelain, the other part is for the common people to burn porcelain to meet the needs of the people at the time. The glaze of Ru porcelain is warm and moist, deeply loved by the emperor of the Song Dynasty. The emergence of the Ru kiln unveiled a new stage of ancient celadon techniques in China, changing the previous statement of "southern celadon and northern white porcelain". （Jia Binqiang 2017, 26）
Jun Kiln, the site of which is located near Juntai and Bagua-dong in the north of Yuzhou City at present, is named for its proximity to Juntai. During the Huizong period of the Northern Song Dynasty, it was designated as an imperial treasure. The glaze colors presented by Jun porcelain can be roughly divided into: rose purple, begonia red, eggplant purple, etc. Jun porcelain has an important place in the history of the development of science, technology and art of ceramic craftsmanship in China. The fine "opening pieces" of the Ge and Guan kilns have brought ceramic aesthetics to a new level. The white porcelain of Ding kiln is rich in decorative techniques, and the layout of the decoration is rigorous and well-defined.
The main achievement of porcelain production process in the Song dynasty was improved the quality of porcelain, reaching a high level of no one before or since, with a rich variety of shapes. It also applied the scraping and scratching and other techniques, enriching the decorations of Song porcelain. During the Song dynasty, Jingdezhen fired, in addition to, high-quality Yingqing (misty blue) porcelain. The misty blue decorative patterns are clear and vivid, creating an elegant and fresh appearance, with a sense of refined artistic style.
======The Yuan, Ming and Qing Dynasties======
The Yuan Dynasty was a period when China was ruled by the grassland people, and a large number of grassland people entered the Central Plains during this period. The Yuan Dynasty inherited the pinnacle of ceramics from the Song Dynasty and gave birth to a richer variety of ceramic wares, such as the familiar blue and white porcelain and blue-glazed porcelain. The craftsmanship of this period is characterized by heavy body, not fine enough texture, thick glaze, and most of the wares the Yuan Dynasty are large porcelains, which also reflects the Yuan Dynasty people's rugged and unrestrained characteristics.（Sun Jingyi 2016, 31）
The Ming Dynasty’s porcelain painting skills are neat and delicate, with concise patterns, decorated by birds and flowers. Figures, moutains and lakes, and a variety of animal subjects emerged in large numbers, with a strong artistic impact. The Ming Dynasty’s craftsmanship attached great importance in practical, as well as elegant technical characteristics. Compared with the Tang and Song dynasties, the Ming Dynasty period is not focused on the use of engraving, scratching, stamping methods, but mainly with painted flowers, to maintain the glossy surface of the glaze, presenting a plain and bright style, reflecting the subtle characteristics of people in the Ming Dynasty.（Hong Lin 2018，12）During this period, it also absorbed foreign ceramic firing techniques, thus making the emergence of distinctive enamel wares.
During the Qing Dynasty, ceramics made great progress in both modeling and decorative techniques, and the creation of famille rose porcelain in Jingdezhen was influenced by enameling. The low firing temperature of famille rose porcelain also took use of the rendering painting method of Chinese painting, making the ceramic floral surface pink and soft. The brightly colored famille rose porcelain produced in the Qing Dynasty reflects the great enthusiasm of the people in this period.

===The spread of ceramic culture===
Times are changing, and history is developing, while ceramics has lasted for thousands of years and has not decayed, which also shows that ceramic culture has a profound connotation, and its cultural charm is worth passing on and carrying forward from generation to generation. Cultural confidence is the endogenous force of cultural heritage and development. Traditional ceramic culture requires continuous innovation and development in order to maintain vitality, the closeness will only accelerate the decline and even extinction. (Wang Fang 2017, 164) In order for the country to have a comprehensive development, economic development and cultural development need to be kept in harmony and balanced. In the current era of such rapid development, especially in the current Internet era, the network makes the communication between different cultures more convenient and faster, and the propaganda is also unmatched by traditional media, like the short video shared Li Ziqi about her residential life on several platforms before, which attracted the love of domestic and foreign audiences, and the content shared in her video is of some significance to the spread of Chinese culture. In addition to that, ceramics foreign trade will be easier than other ways for spreading ceramic culutre, because commodity trading is a more frequent activity between countries. Therefore, in this high-tech era, we have to use modern technology to make ceramic culture continue to flourish, to let more people know about it through more understandable ways, such as movies, documentaries, etc., to experience the beauty of ceramic crafts, to export more elegant and exquisite ceramic products, and to let more people experience and marvel at the greatness of Chinese ceramic culture.
======The role of film in the dissemination of ceramic culture======
Film and television media, as the propaganda carrier, depend on television, film and network and otthers for information dissemination.（Li Chunning 2011, 70）Film and television media can give people visually watch and enjoy the contents showed in them, so that people can feel intimate, vivid images. With vivid content displayed in front of audience, they are easy to be accepted and recognized by the audience. The film "China Flower" and "A Porcelain Vase " exemplify the perfect combination of film and ceramic culture.
The story of " China Flower" is very small, mainly talking about a pair of blue and white porcelain bottles, but although this pair of bottles is ordinary on the surface, its life's glory and humiliation is closely related to the ups and downs of Chinese history.（Zhang Wenjing 2020, 16）The story unfolds in three parallel times, connecting the three pairs of main characters by the blue and white porcelain bottles as the pivot to start its the narration. Although the story unfolds with the blue and white porcelain bottles, it is not limited to the description of the bottles, but also tells the story of the loyal love between two people, national sentiment and even national honor. The pair of blue and white porcelain carries the unrepentant vow between kiln maker of the Yuan Dynasty and his wife, and carries the fearlessness of scholars returning from foreign countries for study in the late Qing Dynasty in the face of the waning dynasty's helplessness and dedicating to defend the interests of the nation, presenting the sacrifices made by patriots in that era to preserve the country's cultural relics. The zeal of our forefathers is not only to save the bottles, and to defend the backbone and fortitude of the Chinese nation, but also displays their eagerness for a bright future of this nation. Although the film does not show a lot of footage about the manufacturing of ceramics, but intersperses with a lot of authentic ceramic knowledge, such as the film in the choice of different porcelain in different scenes, which are very good to promote the ceramic culture.
The film " A Porcelain Vase ", shot in 1979, has distinctive features of that era, and the most striking of which is the ceramic elements. The film begins by telling the audience a poignant legend related to Ji Hong(sacrificial red, intepreted literally), a kind of porcelain, which also sets a tragic tone for the whole story. Sacrificial red is not gaudy, red with a slight purple, no cracked texture in the glaze, is the treasures in color glaze porcelain.（Zhang Wenjing 2020, 17）
The story of the film " A Porcelain Vase " happened in the Ming Dynasty. The emperor asked Jingdezhen porcelain workers to fire the porcelain within 3 days, or all workers would be beheaded, which was obviously a great challenge for the craftsmanship at the time. When everyone was desperate, Linglong, the daughter of an old worker, jumped into the kiln and sacrificed herself to create thel red porcelian vase. There are several versions of this legend about the sacrificial red, but the one in this film is the most widely circulated. Some versions call this red glaze "beauty drunk"(美人醉), but the general content is the same. Ceramic folk tales, although most of them are fictional, some of them also add a certain mythological color, but they all express the good wish of ancient working people and porcelain workers. It is their pursuit of ideal and faith under the historical conditions at that time. At the same time, it also reflects the spirit of struggle of the people at that time to defy hardship, tenacity and unyielding, not afraid of sacrifice.（Wang Lun 2021, 45）
Many of the more professional traditional culture is difficult to carry forward and spread out, because its professionalism is too strong, away from people's daily lives, so it is difficult for people to resonate. And ceramic culture is a regional culture, requiring a high degree of professionalism, a lot of professional background knowledge and skills, which can not be easily get obtained by the ordinary people. But the film can lead people together to appreciate the shape, color and historical connotations of Chinese ceramics This is an aesthetic activity that the public can participate in, which is also the advantage of film and television in the dissemination of ceramic culture.
======Cross-border trade for the dissemination of ceramic culture======
In a sense, artifacts are much easier to spread across national borders than culture.（Chen Shali 2020, 181）Chinese ceramic has tri-status in society, that is, at the intersection of daily life, commerce and art, and is both a practical object, a commodity, and a work of art and a collection, closely related to social behavior, long-distance trade and upper-class taste, providing the world with a unique perspective on world history. Whether for political purposes or commercial interests, trade has become an important vehicle for Chinese cultural exports, and each ceramic object exported to the outside world carries the ideas and emotions that Chinese culture seeks to express. According to statistics, China ranks first in the world in terms of the value of ceramic production and export each year, with daily-use ceramics accounting for about 70%, artistic porcelain for 65%, and architectural porcelain for 50%.（Wang Fang 2017, 165）
The famous Italian traveler Mark Polo appreciated Dehua porcelain in his travelogue: "The porcelain are plentiful and beautiful!", and after he returned to his country, the Dehua porcelain was brought back to be treasured in St. Mark's Cathedral in Venice, which was known to the world as "Marco Polo porcelain" and became the first piece of Chinese porcelain arrived in Europe in the written record.
Another high point in the spread of Chinese ceramic culture in Europe came during Zheng He's voyage to the West during the Ming Dynasty, when large quantities of fine Chinese porcelain entered the European public's view and the message of Chinese culture it carried was widely disseminated. （Tan lijun 2020, 80）On their return voyage, the fleet also carried a large number of foreign goods, including the important pigment for blue and white porcelain, smalt, which was produced in West Asia. The vigorous development of Sino-foreign trade and commerce greatly promoted the circulation of Chinese ceramics around the world and the extraterritorial spread of Chinese culture. It is probably not unfamiliar for the people about the blue and white porcelain, which has been the leading porcelain type in China for more than a century. But the blue and white porcelain is not a completely local product, but the result of the collision between Chinese culture and Islamic culture. The Chinese do not have the national psychological tendency of white and blue, but the merchants in the Persian region of West Asia know that China's Jingdezhen can produce high-quality white porcelain, and they love blue.With the combination of the smalt of Persian region and Jingdezhen quality white porcelain, porcelain decoration in addition to the traditional landscape, figures, flowers and birds, etc., but also adds the decorative patterns with Islamic cultural characteristics, thus creating the world-renowned blue and white porcelain.
Chinese ceramics influenced by the outside cultures, but while Chinese ceramics in the sale to Europe, it also cast influences on the outside world, such as the 18th century Rococo art, an European art style, characterized by flamboyance, elegance, and Chinese blue and white porcelain is rich in rustic, fantasy and elegant features, these characteristics just in line with the European aesthetic orientation during the "Rococo art" period. This influence can be bluntly said to be the product of the borrowing and integration of Western and Chinese culture and art.（Hong Lin 2018, 19）This reflects the two-way influence of cultural transmission, that is, Chinese ceramic culture in the process of spreading will accept the influence of the outside world, and in turn it will also have a certain influence on the outside world.

===Conclusion===
Chinese ceramic culture has a long history, from the beginning of the Neolithic period of household ceramics, but then with increasingly rich types of ceramics, and ceramic skills are more and more exquisite, glaze colors are also more and more rich, creating a lot of prestigious ceramic products. Film and television have brought ceramic culture to the audience in a more interesting and intuitive way, making it easier for ceramic culture to enter the hearts and minds of the public. Transnational trade in ceramics allows Chinese ceramics to go beyond the borders of China, allowing people around the world to experience and appreciate Chinese ceramic culture and its beauty together. Chinese ceramics culture is profound and long-standing, and is a representative and symbol of the soft power of traditional Chinese culture. From the perspective of spiritual culture, ceramic culture contains a rich social connotation, and different periods of social development represent different Chinese cultural spirits. Ceramic culture has been continuously inherited, developed and innovated in the long history. Nowadays, in the new century when Chinese and Western cultures are colliding with each other, how to protect these traditional cultural resources and pass them on permanently requires the efforts of all people. To maintain the vitality and vitality of Chinese culture, we need to take the initiative to go out and interact with the excellent cultures of the world's ethnic groups. Continuously learning, borrowing and absorbing the excellent cultures of the world's ethnic groups is a must for the great rejuvenation of the Chinese nation.
Promoting the dissemination of ceramic culture helps the innovative development of ceramic culture and art in the new era. For ceramic culture to develop in the long run, it is necessary to not only keep the tradition, but also to focus on the actual needs of modern society and achieve innovation. The creative transformation and innovative development of traditional ceramic culture will enable the Chinese nation to participate in world cultural exchanges with a stronger cultural confidence.

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[11] Guo Yue&Song lili郭跃 & 宋丽莉.(2022).谈赫哲族陶瓷文化艺术数字化保护与传承. [Talking about the digital preservation and inheritance of Hezhen ceramic culture and art]. 陶瓷科学与艺术(Ceramics Science&Art)(04),31-32+28.
[12] Yang Xiao杨霄.(2020). 陶瓷文化科普MG动画设计研究. [Research on MG animation design of ceramic culture science popularization]. Guangdong: South China University of Technology]华南理工大学.
[13] Shao Changzong邵长宗(2022).文化与技艺的融合：陶瓷教育的传承与发展. [Integration of Culture and Technique: Heritage and Development of Ceramic Education]. 中国文化报(China Culture News),003.
[14] Wang Fang王芳.(2017).文化自信视角下陶瓷文化的传承与发展——以景德镇陶瓷文化为例[The Inheritance and Development of Ceramic Culture from the Perspective of Cultural Confidence—Jingdezhen Ceramic Culture as an Example]. 企业经济(Enterprise Economy)(07),162-166.
[15] Wang Lun&Sun Jingyi王伦 & 孙静艺.(2021).文化自信指引下中国陶瓷故事域外阐述[Telling Chinese Ceramic Stories Overseas under the Guidance of Cultural Confidence]. 中国陶瓷工业(China Ceramic Industry)(06),42-45.
[16] Li Chunning李春宁.(2011).影视媒体在推广景德镇陶瓷文化中的作用. [The Role of Film and Television Media in Promoting Jingdezhen Ceramic Culture]. 商业文化(Commerical Culture)(06),170.
[17] Sun Jingyi&Wang Lun孙静艺 & 王伦.(2016).中国陶瓷故事域外阐述与中国陶瓷文化传播研究. [A Study on the Extraterritorial Exposition of Chinese Ceramic Stories and the Communication of Chinese Ceramic Culture]. 山东陶瓷(Shandong Ceramics)(05),30-33.
[18] Li Tao&Xu Siyuan李涛 & 许思远.(2021).中国陶瓷海外传播及文明共同体的符号对话——基于丝绸之路考古的研究. [Research on the Symbol Dialogue of Chinese Ceramics Overseas Dissemination and Community of Shared Civilization—Based on the Archaeology of the Silk Road]. 华夏传播研究(Huaxia Communication Research)(01),69-81.

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

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===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Transmission of Contemporary Chinese Literature in English-speaking Countries: A Case Study of ''Red Sorghum'''''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===
In the globalization pattern of cultural pluralism and coexistence, it is the top priority of cultural construction and reform to enhance the global influence of Chinese culture and spread and promote Chinese culture to the world. It is our goal to promote Chinese culture to go global, and the translation of Chinese literature into foreign languages is an important means to achieve this goal. However, this process is not always smooth, and as the process of "going global" in China is hindered, people gradually realize that many factors other than the act of translation are affecting the "going global" of Chinese culture.

Mo Yan is a leading figure in contemporary Chinese literature, and after winning the Nobel Prize for Literature, the attention and sales of his works abroad have increased dramatically. At a time when translations of Chinese contemporary literature have repeatedly suffered setbacks, the successful translation of Mo Yan's novels has sounded the trumpet of victory. This paper analyzes the importance, current situation and reasons for the "going global" of contemporary literature with reference to Andre Lefevere's theory of "three elements" (patronage, ideology and poetics), and studies the successful translation of Mo Yan's masterpiece ''Red Sorghum'' overseas. The study of the successful translation of ''Red Sorghum'' overseas, and the exploration of the effective translation mode of contemporary literature in China, are hoping to contribute to Chinese contemporary literature's going global.

===Key words===
contemporary Chinese literature; transmission; ''Red Sorghum''

===Introduction===
With the further development of globalization, it is no longer a pure economic phenomenon. What accompanies economic globalization is political globalization and the exchange, collision and integration of "soft power" with cultural ideas, ideologies and values as its basic connotation across national borders. Culture is an important symbol of a country's soft power and plays an increasingly prominent role in the competition for comprehensive national power. The globalization of cultural communication has become a social reality that cannot be ignored. (Xu Wen 2013: 96) Different countries, nationalities and cultures want to communicate with each other, so that cultural communication can break through the original national boundaries and geographical restrictions, and eventually get out of the narrow and prejudiced national culture and gain recognition in the global scope.

The "going global" of Chinese culture has been elevated to a national strategic level, and the translation of contemporary Chinese literature, as an important carrier of culture, has assumed the primary task. However, it must be admitted that Chinese literature in general is still in a marginal position in the field of world literature. From the overall situation of translation and dissemination of Chinese contemporary literature, the problems of poor quality of translation, few number of publications, and low overseas acceptance are very prominent. According to statistics, during the nearly 110 years from the beginning of 1900s to the beginning of 2000s, China translated and introduced about 100,000 Western books, while the West introduced less than 500 Chinese books. In recent years, China has introduced about 150 American books in a year, while the United States has imported less than 10 Chinese literary works. (Bao Xiaoying 2015: 80) There is an obvious imbalance between the export and import of literature. Thus, it is clear that there is a long way to go for Chinese contemporary literature to "go global".

On October 11, 2012, Mo Yan was awarded the Nobel Prize in Literature, becoming the first Chinese writer to win the Nobel Prize in Literature. Since then, the popularity of contemporary Chinese literature in the world literary scene has increased dramatically, more readers from abroad have begun to pay attention to the works of contemporary Chinese writers, and the attention of overseas academic circles has also begun to focus on Chinese literature. This has offered a good opportunity for Chinese contemporary literature to go global, and also put forward new ideas for the study of translation and dissemination of Chinese contemporary literature overseas.

Since 1988, Mo Yan’s works have been translated into English, French, Spanish, German, Swedish, Russian, Japanese and other languages. As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. At the same time, as the first novel to be translated overseas and immediately gain acclaim and access to Western commercial channels, ''Red Sorghum'' has set a model for the translation and transmission of contemporary Chinese literature.

This paper takes Howard Goldblatt's translation of ''Red Sorghum'' as a case study to examine the overseas transmission and acceptance of this translation on the basis of previous studies, so as to provide some inspiration for the transmission of contemporary Chinese literature. Due to the limitations of language, this paper will only talk about the translation and transmission of contemporary Chinese literature in English-speaking countries.

===The Importance of Contemporary Chinese Literature Going Global===
Culture has always been an important factor affecting national competitiveness. All major countries in the world have made the improvement of their culture an important national development strategy. Every country, nation and culture wants to exchange with each other, so that their culture can break through the original national boundaries and geographical restrictions and achieve a wider and deeper dissemination. At present, "Chinese literature going global" is flourishing, and the translation of Chinese literature has become an important part of spreading Chinese culture (Bao Xiaoying 2013: 62). Since the 21st century, China has devoted itself to the translation and interpretation of Chinese literature, and has launched a series of publication projects on the translation and dissemination of Chinese literature. At the same time, many journals of Chinese literature in English translation have been established to promote contemporary Chinese literature to the English-speaking world (Yu Hong 2021: 112).

Culture is an important symbol of a country's "soft power" and a symbol of its influence and cohesion. Culture as a soft power plays an increasingly prominent role in the competition for comprehensive national power. Culture has always been an important factor in national competitiveness. Having a strong "cultural soft power" means being able to win the initiative in the fierce international competition. Without cultural soft power, a country has no connotation, no support, and cannot become a real major country.

The strategy of "going global" of Chinese culture was first proposed in the mid-1990s. The "going global" strategy is a major initiative in the new stage of opening up to the outside world. Since then, the "going global" strategy has been expanded from the economic field to the cultural field, and relevant documents have been issued one after another.

Chinese culture "going global" has two basic meanings: First, it is the dissemination of Chinese cultural ideas and cultural forms to the world through cultural exchange. Second, it refers to the export of cultural products and services in international trade (Xiao Yingying 2012: 84). Compared with developed countries in the West, China has a serious "cognitive deficit" in cultural trade, from ideas, cultural symbols to cultural products, and many countries still have a fragmented, one-sided and superficial understanding of Chinese culture. China's economy is growing, but it is still in a weak position in terms of cultural soft power, such as cultural communication and influence, and cultural weakness, which can only be solved by developing cultural industries and communicating with other cultures (Bao Xiaoying 2014: 7).

Communication is the nature of culture, through which different cultures can be perceived. In today's globalization, cross-cultural communication affects people's thought and behavior from different aspects. Translation has always played a very important role in the process of intercultural communication. Translation is not only the conversion of language, but also the transmission of culture. Translation can spread new ideas, new concepts and new technologies, promote cultural exchange and progress, as well as promoting the common development of different cultures. Throughout the history of Chinese and foreign cultures, it is evident that translation has played a great role in spreading cultures in the world. Translation has greatly enriched the exchange and dissemination of Chinese and foreign ideas.

Above all, translation bridges the language barrier between different cultural societies, contributes to the exchange and interaction of cultural information with other countries, facilitates the common development of national cultures, and promotes the sharing of human civilization. "The development within a country and the establishment of its international status depend largely on cultural soft power, and cultural soft power, whether imported or exported, is, in our opinion, first and foremost a translation issue." (Xu Jun 2012: 12) The current strategy of "going global" of Chinese culture advocated by the Chinese government is, in a small way, to export our "cultural soft power" through the power of "translation", and in a larger way, to enhance China's "international status" (Hu Anjiang 2012: 56).

The translation, publication and dissemination of Chinese literature have become an important part of China's cultural outreach. The world needs to observe China through Chinese literature, and China needs to show its true image through literature. Without the role of translation as a medium and without the outreach of translated texts, the outreach of Chinese culture will only be empty talk. It has always been the goal of the country to promote the "going global" of Chinese culture through the translation of Chinese classics (Bao Xiaoying 2013: 54).

===Transmission of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present) (Wan Yu 2021: 220).

In the first stage, China had fewer exchanges with English-speaking countries due to political-ideological conflicts. As a result, relatively few foreign-led publications of contemporary Chinese literature were published during this phase. In the first stage, contemporary Chinese literature translated to English-speaking countries focused more on social and political aspects than on literary aspects.

In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. Compared with the first stage, except for the selection of materials that glorified the revolution and took the working and peasant classes as the main characters in the early period of the founding of the PRC, the domestic publishing institutions were more strict about the themes of translated works during the Cultural Revolution. During this period, more works related to revolution and reflecting class struggle came to the English-speaking countries.

In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some works of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions didn't pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. Meanwhile, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak.

Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than publicity; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and markets. The English-speaking world, Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

Since Mo Yan was awarded the Nobel Prize for Literature, a large amount of Chinese literature, represented by his works, has been translated into the United States and other parts of the world. However, data show that translated works account for only 3% of the total number of publications in the United States, of which less than 1% are literary translations, indicating that the American public does not have an urgent and strong intrinsic need for foreign literature and culture (Xie Tianzhen 2019: 95).

===The Successful Transmission of ''Red Sorghum''===
'''Brief Introduction to ''Red Sorghum'''''

''Red Sorghum'' is a long novel written by Mo Yan, divided into five chapters: ''Red Sorghum'', ''Sorghum Wine'', ''Dog Ways'', ''Sorghum Funeral'', and ''Strange Death''. The five chapters were first published as novellas, of which ''Red Sorghum'' was first published in ''People’s Literature'' in 1986.

''Red Sorghum'' is a family saga of Yu Zhan-ao and Dai Fenglian(identified as Granddad and Grandma from a boy’s perspective), covering their romance, their spontaneous resistance against the Japanese invaders between 1939 and 1941. This novel is set in the fields of dense, tall, red sorghum plants in Northeast Gaomi Township, Shandong Province, China, hence the title ''Red Sorghum''. ''Red Sorghum'' is a classic work that shows the tenacity and national spirits of the Gaomi people in the Anti-Japanese war.

'''Translation and Transmission of ''Red Sorghum'''''

In 1988, Mo Yan’s work ''Dry River'' was first translated and published in Japan, and in 1999, a total of 54 foreign translations of Mo Yan’s works were published during the 11 years, focusing on three works: ''Red Sorghum'', ''Red Sorghum'' and ''The Garlic Ballads''. A total of 30 overseas publications of ''Red Sorghum'' and ''Red Sorghum'' accounted for nearly 60% of the total overseas publications of Mo Yan’s works during this period.

As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. Compared to most Chinese literary works that do not sell well overseas, the sales of ''Red Sorghum'' are more optimistic. According to scholar Bao Xiaoying’s statistics, the English version of ''Red Sorghum'' was published in 1993 and sold more than 50,000 copies in a dozen years, which is not bad sales.

A very important indicator of the reach of a Chinese work of literature in the United States is the number of U.S. libraries that collect the work. If the number of U.S. libraries collecting the work is high, it means that the work is widely distributed in the United States, and vice versa (Liu Guozhi, Chi Changhai. Li Qingliu 2022: 60).

According to the table of the top 10 ranking of the dissemination of English-translated Chinese contemporary novels published in the United States, it can be seen that the English-translated novel ''Red Sorghum'' ranks third overall among the Chinese contemporary novels published and disseminated in the United States. It can be said that ''Red Sorghum'' is the most widely distributed Chinese contemporary novel in the United States. Table 2 shows the collections of public and community libraries and libraries of universities and research institutions in different states. It also shows the ranking and distribution of the top ten states in the United States for the distribution of the novel ''Red Sorghum'' in English translation. Six of the top ten states have more than 40% of the public and community libraries collecting ''Red Sorghum'': 50% in Ohio, 49.23% in Illinois, 48.92% in California, 43.90% in Florida, 43.24% in North Carolina, and 41.27% in Texas, with Ohio accounting for half of the public and community libraries. . These data indicate that the Chinese contemporary novel ''Red Sorghum'' has entered public and community libraries in the U.S., showing that the structure of Chinese contemporary fiction distribution and readership in the U.S. is changing, shifting from its previous distribution primarily in universities and research institutions to the general public. (Two tables mentioned cannnot be uploaded)

'''The Reasons for ''Red Sorghum's'' Successful Transmission'''

The popularity of ''Red Sorghum'' overseas was made possible by many factors. The film of the same name is the pioneer. Thanks to the award-winning film, the translation and dissemination of the novel was promoted overseas. Coupled with the unique perspective and content of the work itself, and the translator Howard Goldblatt’s promotion and personalized translation, the successful transmission of this work was achieved.

'''The Literary Value of the Work Itself'''

Mo Yan, born in 1956 in Gaomi County, Shandong Province. ''Red Sorghum'' is based on the life of his hometown during the anti-Japanese war. Unlike other anti-Japanese literature, Mo Yan's anti-Japanese story is told from the perspective of ordinary people, which is more real and deeper. Mo Yan's literary works often portray original life with bold, mischievous depictions that resonate strongly with readers and shock them. In this novel, there is both questioning and rebellion against existing traditional values, as well as profound analysis of feudal ethics and human nature.

The theme of ''Red Sorghum'' is not only to promote the idea of living a bold, emancipated and frank life, but also to celebrate the patriotic spirit of the heroic resistance to Japan. The so-called "personality liberation" refers to the liberation of the "human" personality. Human being" is the unity of "spirit" and "flesh", "divinity" and "bestiality", "spirit" and "matter", "social man" and "natural man". Man has a "natural human nature", that is "human's" survival instincts and natural desires.

The novel ''Red Sorghum'' not only promotes the liberation of individuality, but also celebrates the tenacity and sacrificial spirit of anti-Japanese patriotism. This dual theme of enlightenment and salvation in literature is an inheritance of the May Fourth tradition. Both the May Fourth movement and the New Culture Movement happened at a time of increasing imperialist aggression against China and a sense of national crisis and the increasingly urgent historical requirement for national self-improvement, self-reliance and salvation.

'''The Pioneering Role of the Film ''Red Sorghum'''''

In today's era of new media, for many readers, they first come to the original work through an adaptation of the work, such as a film or television production. In other words, these readers get to know a literary work or a writer through a film or television work (Hao Dan 2019: 58). In fact, this is how foreign publishers and readers come to know Mo Yan and his ''Red Sorghum''. In 1988, the movie ''Red Sorghum'' directed by Zhang Yimou was released in Canada, the United States and other places. It is worth noting that not only the movie is adapted from Mo Yan's novel ''Red Sorghum'', but its screenwriting team also includes Mo Yan himself. In 1986, when Zhang Yimou decided to make the movie, Mo Yan only received 800 yuan in royalties and 1200 yuan in screenwriting fees. He would not have imagined that in the fifth year after the film's release (1993), the English translation of ''Red Sorghum'' would be published by Penguin Publishing in the United States, with a first printing of 10,000 copies. The number of its first printing is not large, but it is very rare for a contemporary Chinese writer in the early 1990s to have such a publishing opportunity and achievement in the United States. In addition, in 2004, when the American Arcade Press published Mo Yan's another work Big Breasts and Wide Hips, the publisher still mentioned the film ''Red Sorghum'' in the recommendation, which shows the role of the film in the dissemination of Mo Yan's novel.

It can be said that the translation and publication of the English translation of ''Red Sorghum'' is mainly based on the impressive international achievements of the film: in 1988, the film won the Golden Bear Award at the 38th Berlin International Film Festival, the Best Film Award, the Best Director Award, the True Novelty Award for feature films at the 5th Zimbabwe International Film Festival, the Film Critics Award at the 35th Sydney International Film Festival, the 1st Marseille International Film Festival in Morocco, and the Golden Bear Award for the Best Film at the 16th Brussels International Film Festival. In 1989, the film won the Best Film Award from the Radio Audience Jury at the 16th Brussels International Film Festival and the Silver Bear Award at the 5th Montreal World Film Festival in France; in 1990, the film was nominated for the annual prize of the GDR Filmmaker's Association for the ten best feature films of the annual Cuban Film Distribution Awards. Shortly after the film won the awards, Viking Penguin Press took the initiative to invite Howard Goldblatt to translate Mo Yan's ''Red Sorghum''. Of course, the translation of Mo Yan's work into English did not begin with ''Red Sorghum'', but prior to the award-winning film ''Red Sorghum'', Mo Yan's work had never been published in a single volume by a publisher in the English-speaking world.

'''Howard Goldblatt's Translation and Promotion'''

When it comes to the transmission of ''Red Sorghum'' in the English-speaking world, the contribution of its translator, Howard Goldblatt, cannot be overlooked. Howard Goldblatt is a well-known American sinologist and translator who has a high level of attainment in the study of contemporary Chinese literature, and has translated a large number of Chinese literary works. He was born in 1939 in California, USA. Later, while attending the U.S. Naval Officer's School, he was sent to serve in Taipei. While serving, Howard Goldblatt learned Chinese and read books to kill time, and gradually fell in love with Chinese culture. After studying Chinese at the National Taiwan Normal University for about a year, his Chinese language skills improved greatly. Later, he entered San Francisco State University and systematically studied Chinese language and literature. Because of his love for Chinese language and literature, He worked as a Chinese language teacher for one year after graduating with his master's degree. In order to continue to improve his Chinese language, he entered the Department of East Asian Languages at Indiana University to pursue a PhD in Chinese literature. In 1984, with his active leadership and assistance, ''Modern Chinese Literature'', a scholarly journal devoted to Chinese literature, was launched, with Howard Goldblatt as editor-in-chief, giving readers in the English-speaking world the opportunity to read Chinese literature, which contributed greatly to the promotion of Chinese literature.

As a confidant of Chinese literature, Howard Goldblatt has never stopped studying and translating Chinese literature for more than thirty years. His profound knowledge of both Chinese and English, good knowledge of Chinese literature, keen literary insight, and excellent translation skills have contributed to the achievement of Mo Yan, who was awarded the Nobel Prize for Literature, as well as to the dissemination of Chinese literature in the world and to the equal dialogue with world literature.

After Mo Yan won the Nobel Prize, almost everyone said that it was the translator Howard Goldblatt who made Mo Yan a success, and this is not an exaggeration. In terms of the text itself, there are two conditions for a work of contemporary Chinese literature to get the attention of publishers in English-speaking countries: one is a good story, and another is an authentic translation. A well-told story is a response to the cultural psychology and reading habits of the target readers. A good translation is very important in the translation of Mo Yan's works, because most of Mo Yan's novels have a unique Chinese historical background and profound Chinese traditional cultural connotation. Although he is known to the world literary world as a "storyteller", if the translator fails to translate the Chinese history and culture implied behind the Chinese language as effectively as possible into a language that can be understood by English-speaking readers, the transmission and popularity of these works will be difficult to achieve.

'''The Role of Publishing Brokers and Houses'''

For the works of Chinese writers to spread overseas, they must be supported and promoted by authoritative publishing brokers and publishing companies. The reason why Mo Yan's ''Red Sorghum'' is so popular in English-speaking countries is the support of his publishing agent team and Arcade Publishing.

Beijing Genuine&Profound Culture Media Co.,LTD.(hereinafter referred to as "Genuine&Profound") actually plays the role of a copyright agent for Mo Yan's works, responsible for developing the value of Mo Yan's works and planning the publication and distribution of Mo Yan's works. As the book publishing industry becomes more open and free, contemporary Chinese writers have had more knowledge of the publishing market, and some of them have realized the importance of publishing agents. A publishing agent, often called a copyright agent, is a middleman or intermediary that connects a work with a publisher. A publishing agent signs a copyright agency contract with a writer, and then helps the writer find a publishing platform for the work or an opportunity to exploit subsidiary rights related to the work. The services of a publishing agent are what Genuine&Profound provides for Mo Yan.

The uniqueness of Genuine&Profound lies in the fact that it has proposed the business model of "360°celebrity brokerage" for the first time in the industry. This service includes paper book publishing, digital rights management and promotion, promotion of film and television rights of literary works, brokerage of famous artists' artworks, promotion of famous artists' business and social activities, provision of artwork trading platforms, development and sales of derivatives, and legal protection of rights. With respect to Mo Yan's works, it believes that the value of Mo Yan is not only reflected in the publication and distribution of his Chinese works, but also in the overseas publication rights of paper books, film and television adaptation rights, digital publication rights, sales rights of calligraphy works and other subsidiary rights related to them.

The man behind Arcade Publishing, which has published five titles of Mo Yan's works in English translation, is in fact Richard Seaver, Mo Yan's most important advisor in the American publishing world. Arcade Publishing was established by Richard Seaver in 1988 to publish fiction and non-fiction literature. After Richard's death in 2009, Arcade went bankrupt and was acquired by Pegasus Publishing in July of the following year, and relaunched in 2011 under the name Pegasus, with its main focus remaining the same and the addition of some art books (Hao Dan 2019: 59). Today, Arcade Publishing has published nearly 300 authors from over 30 countries. Arcade Publishing has always been a great admirer of Mo Yan's works, and the front page of Arcade's official website has for quite some time read: Arcade and Skyhorse congratulate Mo Yan on winning the 2012 Nobel Prize for Literature". Unfortunately, Richard passed away without waiting for Mo Yan to win the Nobel Prize, but his remarkable vision and solidity as a publisher have made him immortal.

===Conclusion===
Literary works that "go global" should have both universal and heterogeneous qualities in themselves. Universality can resonate with overseas authors, while the unique local characteristics of the works excite readers' interest (Zhang Lijun, Yu Huijun 2021: 92).

Another important factor in the success of Mo Yan's overseas distribution was mentioned earlier: the overseas influence of Zhang Yimou's film. The huge market for films often plays an excellent role in advertising and rapidly promotes the translation and publication of original literary works overseas. The spread and influence of contemporary Chinese literature and Chinese films overseas actually help each other. On the one hand, this shows that outstanding literary scripts are an important basis for the success of films; on the other hand, it also shows that successful film operations will produce a chain effect that can lead to a series of related cultural industries.

In addition, in the process of Chinese literature going global the selection of translation subjects is crucial. Local translators in China do not know enough about the reading habits of Western readers and lack in-depth research on the literary publishing market, so the dissemination of works translated by them is inevitably hindered abroad. In contrast, foreign sinologists have the unique advantage of being the ideal translators for Chinese literature to go global. Local Chinese translators are more likely to perceive Chinese characteristics and outstanding literary works, while the group of sinologists has a deeper understanding of the target language readership and dissemination. The advantages of both complement each other, thus promoting Chinese literature to go out better.

In addition, nowadays, in the context of globalization, it is also very important to establish a good relationship with foreign well-known publishing institutions. ''Red Sorghum'' was released by a well-known foreign publisher, so that it could be more widely known by its target readers. The most important thing is that major publishers can get a good understanding of the market, which is conducive to the dissemination of Chinese literature in the West.

The experience of the successful dissemination of ''Red Sorghum'' shows that for contemporary Chinese literature to go global, not only is there a requirement for the quality and cultural value of the work itself, but there is also a need for reliable translators and authoritative publishing partners.

===References===
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Bao Xiaoying鲍晓英. (2014) 中国文学“走出去”译介模式研究——以莫言英译作品美国译介为例[Study on the Translation and Communication Model for Chinese Literature Going Out—with the Communication of Mo Yan's English Translations in America as an Example][C]. Shanghai International Studies University上海外国语大学.

Bao Xiaoying鲍晓英. (2015) 译介学视野下的中国文化外译观—谢天振教授中国文化外译观研究[The View of Chinese Culture in Foreign Translation from the Perspective of Translation Studies—A Study of Professor Xie Tianzhen's View of Chinese Culture in Foreign Translation][J]. ''外语研究'' [Foreign Languages Research] (5): 78-83.

Hu Anjiang胡安江. (2012) 再论中国文学“走出去”之译者模式及翻译策略——以寒山诗在英语世界的传播为例[The Translation Model and the Translating Strategy Revisited—with the Dissemination of Cold Mountain Poems in the English World as an Example][J]. ''外语教学理论与实践'' [Foreign Language Learning Theory and Practice] (4): 55-61.

Hao Dan郝丹. (2019) 莫言作品英译本的出版传播经验研究[A Study of the Publication and Dissemination Experience of Mo Yan's Works in English Translation][J]. ''对外传播'' [International Communications] (06): 58-60.

Liu Guozhi, Chi Changhai, Li Qingliu刘国芝，池昌海，李清柳. (2022) 英译小说《红高粱》在美国的传播与接受[Dissemination and Reception of the English Translation of Red Sorghum in America][J]. ''中国翻译'' [Chinese Translators Journal] 43(02): 59-66.

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Xie Tianzhen谢天振. (2019) 译介学:理念创新与学术前景[Medio-translatology: Its Innovative Concepts and Academic Prospects][J]. ''外语学刊'' [Foreign Language Research] (04): 95-102.

Xu Wen徐稳. (2013) 全球化背景下当代中国文化传播的困境与出路[The Dilemma and Solution of the Advanced Culture Transmission under the Background of Globalization][J]. ''山东大学学报（哲学社会科学版）'' [Journal of Shandong University(Philosophy and Social Sciences)] (4): 96-103.

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===Terms and expressions===
《红高粱家族》 ''Red Sorghum''

诺贝尔文学奖 the Nobel Prize for Literature

安德烈·勒菲弗尔Andre Lefevere

三要素理论 "three elements" (patronage, ideology and poetics)

葛浩文 Howard Goldblatt

文革 the Cultural Revolution

《枯河》 ''Dry River''

《天堂蒜薹之歌》 ''The Garlic Ballads''

企鹅出版公司 Penguin Publishing

《丰乳肥臀》 ''Big Breasts and Wide Hips''

柏林国际电影节 Berlin International Film Festival

津巴布韦国际电影节 Zimbabwe International Film Festival

悉尼国际电影节 Sidney International Film Festival

马拉什国际电影电视节 Mar del Plata Film Festival

布鲁塞尔国际电影节 Bruxelles International Film Festival

蒙彼利埃国际电影节 Montreal World Film Festival

《中国现代文学》 ''Modern Chinese Literature''

北京精典博维文化传媒有限公司 Beijing Genuine&Profound Culture Media Co.,LTD.

拱廊出版公司 Arcade Publishing

理查德·西维尔 Richard Seaver

===Questions===
1. What's the "three elements" put forward by Lefevere?

2. How many American books has China introduced in a year recently?

3. When was Mo Yan awarded the Nobel Prize in Literature?

4. Which novel is the most translated and reprinted work of Mo Yan?

5. How many stages are there in the history of contemporary Chinese literature in English-speaking countries?

6. What are the reasons for ''Red Sorghum's'' successful transmission?

===Answers===
1. Patronage, ideology and poetics.

2. About 150.

3. On October 11, 2012.

4. ''Red Sorghum''

5. Four.

6. The literary value of the work itself; the pioneering role of the film ''Red Sorghum''; Howard Goldblatt's translation and promotion; the role of publishing brokers and houses.

20220630 Culture 5

2022-07-06T14:20:21Z

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

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.

Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.

Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.

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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.

Vermeer, H. Skopos Theory of Translation[M]. 1996.

Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.

Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.

Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.

Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.

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==英语笔译刘乐乐 Liu Lele 202170081584==
Chinese Online Fantasy Novels：A comparison Between Dragon Raja and Harry Potter
Liu Lele
===Abstract===
Harry Potter and Dragon Raja, two famous fantasy novels, are similar in many ways including plots, character settings and so on. Since the former is famous across the world while the latter have not been translated from Chinese into English yet, we can learn a lot sentence patterns, phrases, and words from Harry Potter when translating Dragon Raja into English.
===Key words===
Dragon Raja; translation material; communication; fantasy
===Introduction===
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.
===Similarities===
Harry Potter starts from the family of Mr. Dursley, the husband of the main character Harry Potter’s aunt, and Dragon Raja also starts from the family of Mr. Lu Gucheng, the uncle of the main character Lu Mingfei.

There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.

In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.

Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.

Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon Raja", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a loser in Dragon Raja. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.

In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.

Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.
===Differences===
As mentioned above, Harry Potter has a lot in common with Dragons, but that doesn't prevent both books from being excellent fantasy novels. Although there are many similarities between the two works at first glance, there are fundamental differences between the two works
"Harry Potter" is mainly based on the British or European wizard culture as the creation, describes an imaginary magical world. The Dragon Race, on the other hand, mainly creates a dragon world based on Nordic mythology. While Harry Potter is full of wizarding legends and English history, Dragons is based on Norse mythology, but mostly borrows from names and allusions.

Most of the stories in harry Potter take place at Hogwarts, so the rest of the books are very brief. Dragons takes place everywhere, not just at Castle College.

In both books, there are special groups with superpowers, wizards and dragon hybrids. But their lifestyles are totally different. Wizards are more isolated and do not generally interact with Muggles; Hybrids, on the other hand, are hidden in the secular world and hold impressive secular power. And when dealing with enemies, wizards can only use magic, which means that only magic can defeat magic in the Harry Potter worldview. In Dragon Race, the hybrids are very willing to use the power of technology. Science is very important in Dragon Race, and the hybrids are always looking for the combination of dragon power and science.

The ultimate villains in Harry Potter are pure-blood believers led by Lord Voldemort, but they still belong to wizards. As far as dragons are concerned, the villains are dragons. Simply put, the villains in Harry Potter are wizards, while the villains in Dragons are other races. Those who are not of our kind have different hearts. So Dragons as a whole reads more murder and hatred than Harry Potter.

Harry Potter is a fairy tale with strong religious significance in essence. There are many fairy tale elements and religious metaphors in it, and more of them are religious thinking to persuade people to be good. "Dragon Raja" is a secular novel for young people from the beginning, most of which is about the discussion of common people themselves.

In Harry Potter, because it is the essence of fairy tale, the protagonist is naturally good, while the villain is naturally evil. The definition of good and evil is very simple and crude. In The Dragon Clan, it seems that the dragon clan is the villain, but the dragon clan described in the book is not necessarily evil. The confrontation between the hybrid and the dragon clan is more for survival status than good or evil.

In fact, there are many differences between the two works. For example, Lumingfield is more close to ordinary people and easier for us to relate to, while Harry is more like imaginary characters.
===Borrowing from Similarities===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

3.1Sentence Patterns
(1)The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。
In Dragon Raja, it is the same case. So we can translate the above sentence into:
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.

(2)Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...
这也许是杜斯礼一家搞的恶作剧？
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt. So we can translate the above sentence into:
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?

3.2 Phrases
(1)A deafening shout：震耳欲聋
Both in Harry Potter and in Dragon Raja, there’s people like shouting at the main characters, so we can use this phrase to make a vivid description of it.
(2)Questions exploded inside Harry’s head like fireworks.
These two words , “Explode” and “Fireworks”, together constitutes an lively description of the scene. Lu Mingfei was loaded with questions in his head when starting to know everything about dragons, which sounds unbelievable in the real world.

(3)The rattling cart火车咔嗒响。
Both Harry Potter and Dragon Raja have their special trains lead to the schools. So when depicting the sound a train makes in its way, we can use this phrase.

3.3 Words
Since both of the two are novels, when doing translating, we can meet a lot dialogues, which means the Chinese character--”说(said)” will need various substitutions. Besides, there are many descriptions of movements and expressions. Both these words can be very tricky when doing translating. Fortunately, Harry Potter offers various translations of them.

3.3.1 Words to describe the act of speaking(说）
(1) ...Harry asked urgently.
急忙问道，急切问道。
(2) ...said the boy, with a slight sneer.
男孩冷笑道(3)...said the pale boy carelessly,
男孩面色苍白，漫不经心地说
(4) ...he began
他开始说到
(5)...asked politely
礼貌地问
(6)...asked Seamus with great interest.
饶有兴趣地问
(7)...he said coolly
他冷冷地说

3.3.2 Movements and Expressions
(1) waves merrily at him
开心地朝他招手。
(2) sneaking to the kitchen for some food
溜进厨房找东西吃
(3) collapsed into a chair
一屁股坐下
(4) made both of them jump
两个人都吓了一跳
(5) hamming on the door to wake you up.
捶门叫她起床
(6) drumming their fingers on the glass
手指在玻璃上敲击
(7)his stomach rumbling with hunger
肚子咕咕叫
(8) Harry sighed and stretched out on the bed
哈利叹了口气，在床上躺成“大”字形
===Application in translating===
大脸猫头像跳闪，“诺诺”上线。
The profile of a big-face cat flickered, which means NONO got online.
路明非犹豫了一下，“是你？”
“Is that you?”hesitated a little, Lu Mingfei asked
“嗯，陈墨瞳。”诺诺的回答显得懒洋洋的，“没事上来打两盘。”
“Yeah,it’s me, Chen Motong.”She said carelessly,”Got no better things to do than some gaming.”
“你怎么知道我的ID？”
“How did you get my ID?”
“人肉搜索啊，嘿。你居然用‘明明’这种ID，像女孩似的，还有‘夕阳的刻痕’……你是人妖么？”
“Cyber manhunt. Hey, you took Mingming as your ID. Girlish! And “sunset”,are you sure you are not a ladyboy?
“这都能人肉到？千万保密，那是我来逗我弟玩的。”
“You even knew this?! Please keep this secret for me. That’s for playing some little tricks on my cousin.”
“开玩笑的啦，诺玛搜索到的，这对诺玛小菜一碟。你星际打得不错。”
“Just joking. It’s Noma, our intelligent computer, that got all this information. It’s a piece of cake for her. By the way, you are good at Starcraft.”
“行了，我都输给你了。”
“Come on, I lost to you.”
“是我输，诺玛和我一起打的，我们两个控制一家。最后我知道你在升三级基地，因为诺玛偷偷开了地图，看见了。”
“I should be the loser. I played the game with the help of Noma.
“作弊死全家！”路明非打出这句话。
“Cheaters will have his family completely died.” Lu Mingfei type this sentence.
只是随手，这话在群里大家随便说，没谁真的往心里去。
It’s just an online phrase that were often used and no one would take it seriously.
“我家只有我一个人。”诺诺回复。
“I’ve already got no family to lose.”answered Nono.
路明非愣了一下，“对不起。”
Lu Mingfei was stunned a little, and said,”sorry.”
“这有什么对不起的？”诺诺答得很平淡，“玩一盘？”
“Nothing to feel sorry about.”Nono said carelessly still,”Want a game?”
“没心情。”
“not in the mood.”
“失恋了？”
“Broke up with your girlfriend?”
路明非浑身一个激灵，诺诺像是个小巫婆似的，看穿了他的一切，叫他完全无处容身。
“Lu Mingfei was shocked. Nono’s like a little wizard, seeing through everything of him.He could hide nothing in front of her.
“还没有……我没有女朋友，当然不会失恋了，姐姐你想怎样啊？”他输入。
“How can I break up with my girlfriend when I don’t have a one? So what do you want? Big sister!”He typed.
“姐姐叫得还蛮甜的，”诺诺扔出一个龇牙咧嘴的笑脸，“来吧，说说到底怎么回事，我也许能帮上忙。”
“That’s sweet.”Nono sent him a grinning smile,”Alright, let’s hear it.Maybe I can help you.”
“你帮什么忙？你又不认识她。”
“I doubt that.You don’t know about her.”
“我是不认识陈雯雯。”小巫婆诺诺回复得极快。
“Yeah, I do know nothing about Chen Wenwen.”
“你到底知道多少？”路明非忽地很惊恐。
“How much do you know?”Lu Mingfei suddenly got frightened.
“太多了。”
“too much.”
“你们……到底是谁？”路明非手有点抖。
“Who are you?”Typed Lu Mingfei with trembling fingers.
(1) 路明非在屏幕上无奈地打出“GG”（“GG”，指“Good Game”，在竞技类游戏中称赞对方玩得好，也是认负的意思），而后切出了游戏。屏幕上显示的最后一个场景，是十二艘人类巡洋舰以华丽的大和炮聚焦射击，把他的母巢化作了一滩血水。
Lu mingfei reluctantly typed "GG" (" GG "refers to" Good Game "in a competitive Game) on the screen before cutting out the Game. The final scene shown on the screen was twelve human cruisers firing in focus with their magnificent Yamato guns, turning his brood into a pool of blood.
(2) 他输掉了今天的第六局，胜负比例是零比六，这一次他坚持到了22分23秒才被拿下，不过最终还是被拿下了，对方的微操很好，用的又是人类，人类的机枪兵在这个游戏里是个变态的兵种，出枪速度为零，站住了拔枪就射，收枪就跑，路明非的小狗追不上，在路上就一只只被打爆了。
He lost his game for today 6-0，with round 6 hanging/lasting for 22 minutes 23 seconds. His opponent is very good at micro control, with the use of Terran whose riflemen，capable of shooting in an instant，is extremely strong in the game. stood still pull out a gun shoot, gun ran, Lu MingFei's puppy can catch up, thus getting beaten up one by one.
路明非没啃声儿，切到QQ上，那个戴棒球帽的女孩头像还是灰色的，一动不动。对方没上线，又白等了。他抓了抓脑袋，有点失望。另一个头像倒是跳了起来，是个长得很欠的熊猫。
Lu Mingfei did not answer. Switch into QQ, the profile of a girl wearing a baseball cap stayedgray and quiet there. She wasn't online, and he was just waiting for nothing. Scratching his head, he felt a little upset. The other profile was active though，a very disturbing panda.
===Conclusion===
Both Dragon Raja and Harry Potter are great fantasy novels. Dragon Raja has only been enjoyed in China, which to some extent is because it has no other versions than Chinese ones. Harry Potter has both attracting languages and similar plots with Dragon Raja, so there are things can be learned from it.
===References===
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.
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[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.

==英语笔译刘双英 Liu Shuangying 202170081585==
<center>'''The Devlopment and Dissemination of Chinese Ceramic Culture'''</center>

<center>Liu Shuangying</center>

===Abstract===
===Key words===
===Introduction===
As China's national strength continues to rise, its economy is growing rapidly, but traditional Chinese culture has not yet been well spread. China was one of the first countries to make pottery, and the birthplace of porcelain. From the current archaeological excavations, the earlist ceramics may be the porcelain products created by primitive people when they found that clay was pounded into mud and coated on a container consisting of grass and wood, and the mud would no longer dissolve in water after firing, and soon they started learning to make objects using only clay.(Guo Yue&Song Lili 2022, 31）
The ceramic culture explored in this paper has a long history, but with the development of the times, today's Chinese ceramic culture is far less flourish than in the past. At a time when the country is vigorously promoting cultural outreach and enhancing cultural confidence across the board, it is especially important to reinvigorate ceramic culture and strengthen the development and dissemination of Chinese ceramic culture. People from other countries in the world do not yet know much about traditional Chinese culture, especially in some specialized fields, such as the pottery-making techniques in ceramic culture, and sometimes the knowledge and terminology in these fields are not well understood by our own Chinese laymen as well, who only know some very basic and superficial things. Foremostly, we have to understand its intrinsic cultural connotation and unique historical value before we can plan for its way out and prepare for its revitalization. Therefore, the dissemination of these traditional cultures requires more effort, time and energy to get out of the country, catering to the strategy of "Chinese culture going out" as stated by General Secretary Xi Jinping, which is also of great practical significance to the Chinese dream of the great rejuvenation of the Chinese nation. Only when the economy and culture develop together, and the most characteristic industries of the nation are exported to the outside world, so that more people can understand its unique characteristics, can a country be truly strong and respected by the world.

===The connotation of ceramic culture===
Ceramics is a general term for pottery and porcelain, and ceramics itself is a kind of arts and crafts, as well as a folk culture, which can be seen in folk and temple in ancient times. Mr. Chen Yuqian combined the practicality and aesthetics of ceramics, the unity of science and technology and plastic art and regional factors to define ceramic culture: the essence of ceramic culture actually refers to the various types of cultural connotations embodied in the process of production to display and sale of ceramics.（Hong Lin 2018, 07）Traditional ceramic culture, commonly speaking, is the way of inheritance preserved by the ancestors of the Chinese nation in the production of ceramics, making objects. It is the evolution of ancient Chinese traditional thought, with local folk customs as the core, reflecting the aesthetic ideas of the people, the pleasure of life and the laws of formal beauty at that time.（Wang Fang 2017, 163）
In the light of the above opinions, I believe that ceramic culture includes not only the crafts of making various kinds of fine ceramics, but also the various ideas incorporated into porcelain by ancient working people when making ceramics. From the very beginning, ceramics were only designed for daily use, but later on, various carving techniques were developed, colors were enriched, painting and calligraphy were incorporated into ceramics, and so on, making ceramics more and more exquisite. And in different periods, ceramics show different appearance, and people's preferences for thier appearances and colors, for each stage of the unique image reflects the social landscape of the period, reflecting the rich historical stories behind the characteristics of the historical form of special periods, such as the famous ceramics of different historical periods, such as the Tang Dynasty’s "Tang Tri-Color Glazed Ceramics", the rich colors of the ceramics had changed the style of plain porcelain in the past, reflecting the openness and inclusiveness of the Tang Dynasty to a certain extent. There are many other famous ceramics of other dynasties that reflect the special connotation of the times and the temperament of the people. This is the ceramic culture hidden deeply in the ceramics, which is worthy of our study and learning, and should be vigorously inherited and developed, which is what our country has been advocating that we should stay true to cultural confidence, requiring the Chinese people to adhere to the excellent Chinese traditional culture and faith. It’s the pride of the advanced culture of socialism with Chinese characteristics. Ceramic culture is also something that should be spread vigorously in the new era, so that we can let more people obtain more specific information about China and enhance its the international status.

===The development of ceramic culture in different dynasties===
Ceramic culture has been an important part of Chinese more than 5,000 years culture, and ceramics have been produced for thousands of years since the ancient times.（Shao Changzong 2022, 01）Ceramic culture began in the Neolithic period, and each historical period has shown different characteristics. During the Tang Dynasty, there is the famous " Tang Tri-Color Glazed Ceramics " ceramic culture, which reflects the characteristics of the pottery skills of the Tang Dynasty. During the Yuan Dynasty, there is the famous "Jingdezhen blue and white porcelian" ceramic culture, and many people know about Chinese ceramics because of the blue and white porcelian. Black pottery, colored pottery, etc., all reflect the characteristics of unique aesthetic skills. Just like our modern life, the things that are popular in different periods will be different, which to a certain extent can also reflect the current social customs and mainstream thinking, so the different types and colors of ceramics presented in different historical periods reflect the ceramic culture, but also reflect the thinking of the people in the society at that time.
======Neolithic Period======
The ancestors living in mainland China during the Neolithic period had already learned to fire pottery for daily use, and some data even show that early wine vessels had already appeared.（Yang Xiao 2020, 43）
The distribution and phasing of Neolithic ceramics in China are often divided according to two major basins: the Yellow River basin is divided into Yangshao culture, Majiayao culture, Qijia culture, Dawenkou culture, Longshan culture and other small branches according to the historical development, and the Yangtze River basin can be divided into Daxi culture, Qujialing culture, Hemudu culture, Majiabin culture, Songze culture and Liangzhu culture. Neolithic pottery is mostly decorated with geometric patterns and red and black colors, which indicates that people have mastered the theory of red and black color change of hematite. According to the information found, the following is a brief introduction to the pottery of the Yangshao and Longshan culture periods.
The Yangshao culture period is dominated by sandy red pottery, brown pottery and clay red pottery, with less gray and black pottery. Color pottery is the most representative kind of pottery in Yangshao culture. Shaoyang culture early pottery production method is mainly done by hand, to the middle and late stages "rotating method" slowly appeared. The surface of the pottery is mainly plain and polished, and the decorations have rope pattern, scratch pattern and so on. Pottery is mainly used for daily life, such as food and drinking utensils. Long Shan culture pottery is dominated by sandy gray and black pottery and clay gray and black pottery, black pottery, brown pottery and red pottery second. During this period, the rotating method has been quite common, hand-made and coil method is still seen in use. The surface text of the ware is mainly rope pattern, chevron pattern, etc., and the types of pottery are also more abundant than during the Yangshao culture.
======Xia, Shang and Zhou Periods======
Xia Shang Zhou pottery is the pottery in the bronze age, so the appearance of the pottery in this period mostly imitate the bronze’s. Early pottery-burning kilns appeared in the Xia Dynasty are similar in appearance to the dome kilns in the north. Although the Shang Dynasty did not stand out in the quality of ceramics, but was the first one created the earliest "glaze", which is applied to the pottery, playing a beautiful and clean role, in addition to slowing down the speed of water seepage of pottery, laying the foundation for the emergence of porcelain. Chinese working people mastered the art of glazing on pottery and invented the real sense of porcelain. Compared with the previous pottery, porcelain is solid and durable, with smooth and beautiful body. The emergence of porcelain techniques is a great progress in the history of the world’s porcelain.（Wang Lun 2021, 44）The primitive porcelain made in the Shang Dynasty, also known as glazed porcelain, with features of bright glaze, bright colors, high hardness, and low water absorption.（Jia Binqiang 2017, 24）
The primitive porcelain of the Shang dynasty is made of kaolin clay, firing above 1200 degrees Celsius, whose color of the clay body is mostly off-white, and the glaze is even and bright, emboding a charming color. These characteristics are basically similar to the conditions that porcelain should have. However, its clay body material is not fine enough, and what’s worse, there is a certain degree of water absorption, no light transmission, poor combination of clay and glaze, and easy to flake.
======The Qin, Han and North-South Dynasties======
The Qin Dynasty saw the emergence of large terracotta figurines, and the most famous of which is what we know today the life-size terra-cotta soliders ans horses in Chin tomb. They are very realistic and tall, and very delicate, which shows that the pottery making technique in China reached a very high level in the Qin Dynasty. During the two Han dynasties, pottery was still dominated by gray pottery, with a variety of shapes, and in addition to living pottery, there were also burial ware and architectural pottery. Most notably, in the Eastern Han Dynasty, the successful firing of celadon ware was another brilliant achievement in the history of Chinese ceramics. In the Han Dynasty, the use of Long(dragon) kiln and the emergence of high-temperature glaze ceramic are most typical. Dragon kiln is the kiln whose roof is closed, the kiln body inclined, the lowest section for the fire chamber, the highest end as a smoke vent, because the kiln body built on the mountain, like a dragon coiled from top to bottom in the mountainside, so named dragon kiln. （Yang Xiao 2020, 44）
Dragon kiln temperature changes quickly, so it can be used to do rapid firing. After solving the problem of raw materials, people can fire more than 1200 degrees Celsius high-temperature glaze porcelain through the dragon kiln. The surfaces of ceramics produced in the Han dynasty usually together decorated by flowing clouds and vivid birds and animals. The decorations are full but not chaotic, and the decorative patterns represent the unique style of the Han dynasty, making ceramics look rustic not dull, such a decorative style has a lot to do with the Han dynasty's strong state power and open cultural mentality.（Hong Lin 2018, 11）
Although the period of the Northern and Southern Dynasties is a more turbulent period in anicent China’s society, but the ethnic groups are living in groups, so they can communicate with each other, achieving ethnic integration, and promoting the development of agriculture and handicrafts around the country to varying degrees. Because from the end of the Eastern Han Dynasty, China appeared last 400 years of division situation, resulting in the decline of handicrafts, especially ceramic handicrafts in a long-term standstill. During the Northern Dynasty, the greatest achievement was the emergence of white porcelain. The emergence of celadon and white porcelain paly a significant role in the appearances of porcelain of the Song Dynasty and the "five famous kilns". White porcelain is based on the development of celadon, the main difference is that the raw materials of white porcelain contain lower content of iron than that of celadon.（Jia Binqiang 2017, 25）This shows that at that time there was an understanding of metal coloring agent, which is a major breakthrough in the history of porcelain in China, laying a foundation for the development of color porcelain later. There are several outstanding decorative features during this period: pile molding, piercing techniques, lotus decoration, etc., all of which show the prosperity of ceramic craftsmanship and decoration in this period.
======The Tang Dynasty======
The Tang Dynasty is more powerful and all the people begin to communicate and exchange more frequently. Compared with the ceramics of the Han Dynasty, the ceramics of the Tang Dynasty are more refined. The " Tang Tri-Color Glazed Ceramics " of the Tang Dynasty is also the most well-known ceramics nowadays, but the Tang Tri-color glazed ceramics is not porcelain but pottery. The word " Tri-color " means colorful, including green, yellow, brown, ochre, red, white, blue, black and other colors. Tri-color glazed pottery is made of white clay, glazed with low-temperature glaze containing lead and using iron, copper, manganese, cobalt and other metals as coloring agents, and baked at a low temperature of 750-850 degrees Celsius. This period the surfaces decoration of ceramics began to focus on humanistic pursuits and life spirit, and the ceramic artisans liked to use plants that are closely related to life to decorate ceramics, such as lotus, linden, peony, etc.. Since the travel of Zhang Qian to the West during the reign of Emperor Wu of the Western Han Dynasty, Buddhist ideas have been introduced to the Central Plains and have had a great impact on Chinese history and even modern social development. （Shao Yu 2022, 89）
The elements mentioned above as the decorative patterns of the wares are the usual elements used by Buddhists. During the Tang Dynasty, along with the increasingly frequent cultural exchanges between China and foreign countries, camels gradually became a favorite subject for artisans and craftsmen, and this preference can be reflected in the production of the Tang Tri-color glazed ceramics, which is the best proof of the cultural openness during the Tang Dynasty. In addition, most of the porcelains of the Tang Dynasty were full and round, which indirectly reflected the aesthetic characteristics of the Tang Dynasty with fat as the beauty. This colorful and splendid artistic expression of the Tang Tri-color glazed ceramics can be seen that the Tang Dynasty had a strong power, advanced economy and frequent foreign exchanges at that time (Sun Jingyi 2016, 31). The fact that ceramics of the Tang Dynasty could develop to such a high level is inseparable from its strong national power. In general, from the Northern Dynasty to the Tang Dynasty, the domestic porcelain production pattern of "Southern Celadon and Northern White porcelain" was formed, with the South mainly producing celadon, which was light and delicate, and the North mainly producing white porcelain, which was solid and fair.
======The Song Dynasty======
The Song Dynasty is the peak of ceramic development, with a rich variety of products. The famous "Five Famous Kilns", namely the Ru, Jun, Ge, Guan and Ding kilns, each had its own characteristics, and the Ru, Jun and Guan kilns are successively monopolized or designated by the royal family to fire imperial porcelain. The Ru kiln originated in the area of Ruzhou and Baofeng. Ru kilns are mainly cyan in color, mostly for civilian life porcelain. In the late Northern Song Dynasty, the government monopolized the Ru kiln which was originally engaged in the production of printed celadon for the civic as the official kiln, exclusively for the palace firing imperial goods. Therefore, the Ru kiln consists of two parts: one is official Ru kiln, dedicated to the court to burn imperial porcelain, the other part is for the common people to burn porcelain to meet the needs of the people at the time. The glaze of Ru porcelain is warm and moist, deeply loved by the emperor of the Song Dynasty. The emergence of the Ru kiln unveiled a new stage of ancient celadon techniques in China, changing the previous statement of "southern celadon and northern white porcelain". （Jia Binqiang 2017, 26）
Jun Kiln, the site of which is located near Juntai and Bagua-dong in the north of Yuzhou City at present, is named for its proximity to Juntai. During the Huizong period of the Northern Song Dynasty, it was designated as an imperial treasure. The glaze colors presented by Jun porcelain can be roughly divided into: rose purple, begonia red, eggplant purple, etc. Jun porcelain has an important place in the history of the development of science, technology and art of ceramic craftsmanship in China. The fine "opening pieces" of the Ge and Guan kilns have brought ceramic aesthetics to a new level. The white porcelain of Ding kiln is rich in decorative techniques, and the layout of the decoration is rigorous and well-defined.
The main achievement of porcelain production process in the Song dynasty was improved the quality of porcelain, reaching a high level of no one before or since, with a rich variety of shapes. It also applied the scraping and scratching and other techniques, enriching the decorations of Song porcelain. During the Song dynasty, Jingdezhen fired, in addition to, high-quality Yingqing (misty blue) porcelain. The misty blue decorative patterns are clear and vivid, creating an elegant and fresh appearance, with a sense of refined artistic style.
======The Yuan, Ming and Qing Dynasties======
The Yuan Dynasty was a period when China was ruled by the grassland people, and a large number of grassland people entered the Central Plains during this period. The Yuan Dynasty inherited the pinnacle of ceramics from the Song Dynasty and gave birth to a richer variety of ceramic wares, such as the familiar blue and white porcelain and blue-glazed porcelain. The craftsmanship of this period is characterized by heavy body, not fine enough texture, thick glaze, and most of the wares the Yuan Dynasty are large porcelains, which also reflects the Yuan Dynasty people's rugged and unrestrained characteristics.（Sun Jingyi 2016, 31）
The Ming Dynasty’s porcelain painting skills are neat and delicate, with concise patterns, decorated by birds and flowers. Figures, moutains and lakes, and a variety of animal subjects emerged in large numbers, with a strong artistic impact. The Ming Dynasty’s craftsmanship attached great importance in practical, as well as elegant technical characteristics. Compared with the Tang and Song dynasties, the Ming Dynasty period is not focused on the use of engraving, scratching, stamping methods, but mainly with painted flowers, to maintain the glossy surface of the glaze, presenting a plain and bright style, reflecting the subtle characteristics of people in the Ming Dynasty.（Hong Lin 2018，12）During this period, it also absorbed foreign ceramic firing techniques, thus making the emergence of distinctive enamel wares.
During the Qing Dynasty, ceramics made great progress in both modeling and decorative techniques, and the creation of famille rose porcelain in Jingdezhen was influenced by enameling. The low firing temperature of famille rose porcelain also took use of the rendering painting method of Chinese painting, making the ceramic floral surface pink and soft. The brightly colored famille rose porcelain produced in the Qing Dynasty reflects the great enthusiasm of the people in this period.

===The spread of ceramic culture===
Times are changing, and history is developing, while ceramics has lasted for thousands of years and has not decayed, which also shows that ceramic culture has a profound connotation, and its cultural charm is worth passing on and carrying forward from generation to generation. Cultural confidence is the endogenous force of cultural heritage and development. Traditional ceramic culture requires continuous innovation and development in order to maintain vitality, the closeness will only accelerate the decline and even extinction. (Wang Fang 2017, 164) In order for the country to have a comprehensive development, economic development and cultural development need to be kept in harmony and balanced. In the current era of such rapid development, especially in the current Internet era, the network makes the communication between different cultures more convenient and faster, and the propaganda is also unmatched by traditional media, like the short video shared Li Ziqi about her residential life on several platforms before, which attracted the love of domestic and foreign audiences, and the content shared in her video is of some significance to the spread of Chinese culture. In addition to that, ceramics foreign trade will be easier than other ways for spreading ceramic culutre, because commodity trading is a more frequent activity between countries. Therefore, in this high-tech era, we have to use modern technology to make ceramic culture continue to flourish, to let more people know about it through more understandable ways, such as movies, documentaries, etc., to experience the beauty of ceramic crafts, to export more elegant and exquisite ceramic products, and to let more people experience and marvel at the greatness of Chinese ceramic culture.
======The role of film in the dissemination of ceramic culture======
Film and television media, as the propaganda carrier, depend on television, film and network and otthers for information dissemination.（Li Chunning 2011, 70）Film and television media can give people visually watch and enjoy the contents showed in them, so that people can feel intimate, vivid images. With vivid content displayed in front of audience, they are easy to be accepted and recognized by the audience. The film "China Flower" and "A Porcelain Vase " exemplify the perfect combination of film and ceramic culture.
The story of " China Flower" is very small, mainly talking about a pair of blue and white porcelain bottles, but although this pair of bottles is ordinary on the surface, its life's glory and humiliation is closely related to the ups and downs of Chinese history.（Zhang Wenjing 2020, 16）The story unfolds in three parallel times, connecting the three pairs of main characters by the blue and white porcelain bottles as the pivot to start its the narration. Although the story unfolds with the blue and white porcelain bottles, it is not limited to the description of the bottles, but also tells the story of the loyal love between two people, national sentiment and even national honor. The pair of blue and white porcelain carries the unrepentant vow between kiln maker of the Yuan Dynasty and his wife, and carries the fearlessness of scholars returning from foreign countries for study in the late Qing Dynasty in the face of the waning dynasty's helplessness and dedicating to defend the interests of the nation, presenting the sacrifices made by patriots in that era to preserve the country's cultural relics. The zeal of our forefathers is not only to save the bottles, and to defend the backbone and fortitude of the Chinese nation, but also displays their eagerness for a bright future of this nation. Although the film does not show a lot of footage about the manufacturing of ceramics, but intersperses with a lot of authentic ceramic knowledge, such as the film in the choice of different porcelain in different scenes, which are very good to promote the ceramic culture.
The film " A Porcelain Vase ", shot in 1979, has distinctive features of that era, and the most striking of which is the ceramic elements. The film begins by telling the audience a poignant legend related to Ji Hong(sacrificial red, intepreted literally), a kind of porcelain, which also sets a tragic tone for the whole story. Sacrificial red is not gaudy, red with a slight purple, no cracked texture in the glaze, is the treasures in color glaze porcelain.（Zhang Wenjing 2020, 17）
The story of the film " A Porcelain Vase " happened in the Ming Dynasty. The emperor asked Jingdezhen porcelain workers to fire the porcelain within 3 days, or all workers would be beheaded, which was obviously a great challenge for the craftsmanship at the time. When everyone was desperate, Linglong, the daughter of an old worker, jumped into the kiln and sacrificed herself to create thel red porcelian vase. There are several versions of this legend about the sacrificial red, but the one in this film is the most widely circulated. Some versions call this red glaze "beauty drunk"(美人醉), but the general content is the same. Ceramic folk tales, although most of them are fictional, some of them also add a certain mythological color, but they all express the good wish of ancient working people and porcelain workers. It is their pursuit of ideal and faith under the historical conditions at that time. At the same time, it also reflects the spirit of struggle of the people at that time to defy hardship, tenacity and unyielding, not afraid of sacrifice.（Wang Lun 2021, 45）
Many of the more professional traditional culture is difficult to carry forward and spread out, because its professionalism is too strong, away from people's daily lives, so it is difficult for people to resonate. And ceramic culture is a regional culture, requiring a high degree of professionalism, a lot of professional background knowledge and skills, which can not be easily get obtained by the ordinary people. But the film can lead people together to appreciate the shape, color and historical connotations of Chinese ceramics This is an aesthetic activity that the public can participate in, which is also the advantage of film and television in the dissemination of ceramic culture.
======Cross-border trade for the dissemination of ceramic culture======
In a sense, artifacts are much easier to spread across national borders than culture.（Chen Shali 2020, 181）Chinese ceramic has tri-status in society, that is, at the intersection of daily life, commerce and art, and is both a practical object, a commodity, and a work of art and a collection, closely related to social behavior, long-distance trade and upper-class taste, providing the world with a unique perspective on world history. Whether for political purposes or commercial interests, trade has become an important vehicle for Chinese cultural exports, and each ceramic object exported to the outside world carries the ideas and emotions that Chinese culture seeks to express. According to statistics, China ranks first in the world in terms of the value of ceramic production and export each year, with daily-use ceramics accounting for about 70%, artistic porcelain for 65%, and architectural porcelain for 50%.（Wang Fang 2017, 165）
The famous Italian traveler Mark Polo appreciated Dehua porcelain in his travelogue: "The porcelain are plentiful and beautiful!", and after he returned to his country, the Dehua porcelain was brought back to be treasured in St. Mark's Cathedral in Venice, which was known to the world as "Marco Polo porcelain" and became the first piece of Chinese porcelain arrived in Europe in the written record.
Another high point in the spread of Chinese ceramic culture in Europe came during Zheng He's voyage to the West during the Ming Dynasty, when large quantities of fine Chinese porcelain entered the European public's view and the message of Chinese culture it carried was widely disseminated. （Tan lijun 2020, 80）On their return voyage, the fleet also carried a large number of foreign goods, including the important pigment for blue and white porcelain, smalt, which was produced in West Asia. The vigorous development of Sino-foreign trade and commerce greatly promoted the circulation of Chinese ceramics around the world and the extraterritorial spread of Chinese culture. It is probably not unfamiliar for the people about the blue and white porcelain, which has been the leading porcelain type in China for more than a century. But the blue and white porcelain is not a completely local product, but the result of the collision between Chinese culture and Islamic culture. The Chinese do not have the national psychological tendency of white and blue, but the merchants in the Persian region of West Asia know that China's Jingdezhen can produce high-quality white porcelain, and they love blue.With the combination of the smalt of Persian region and Jingdezhen quality white porcelain, porcelain decoration in addition to the traditional landscape, figures, flowers and birds, etc., but also adds the decorative patterns with Islamic cultural characteristics, thus creating the world-renowned blue and white porcelain.
Chinese ceramics influenced by the outside cultures, but while Chinese ceramics in the sale to Europe, it also cast influences on the outside world, such as the 18th century Rococo art, an European art style, characterized by flamboyance, elegance, and Chinese blue and white porcelain is rich in rustic, fantasy and elegant features, these characteristics just in line with the European aesthetic orientation during the "Rococo art" period. This influence can be bluntly said to be the product of the borrowing and integration of Western and Chinese culture and art.（Hong Lin 2018, 19）This reflects the two-way influence of cultural transmission, that is, Chinese ceramic culture in the process of spreading will accept the influence of the outside world, and in turn it will also have a certain influence on the outside world.

===Conclusion===
Chinese ceramic culture has a long history, from the beginning of the Neolithic period of household ceramics, but then with increasingly rich types of ceramics, and ceramic skills are more and more exquisite, glaze colors are also more and more rich, creating a lot of prestigious ceramic products. Film and television have brought ceramic culture to the audience in a more interesting and intuitive way, making it easier for ceramic culture to enter the hearts and minds of the public. Transnational trade in ceramics allows Chinese ceramics to go beyond the borders of China, allowing people around the world to experience and appreciate Chinese ceramic culture and its beauty together. Chinese ceramics culture is profound and long-standing, and is a representative and symbol of the soft power of traditional Chinese culture. From the perspective of spiritual culture, ceramic culture contains a rich social connotation, and different periods of social development represent different Chinese cultural spirits. Ceramic culture has been continuously inherited, developed and innovated in the long history. Nowadays, in the new century when Chinese and Western cultures are colliding with each other, how to protect these traditional cultural resources and pass them on permanently requires the efforts of all people. To maintain the vitality and vitality of Chinese culture, we need to take the initiative to go out and interact with the excellent cultures of the world's ethnic groups. Continuously learning, borrowing and absorbing the excellent cultures of the world's ethnic groups is a must for the great rejuvenation of the Chinese nation.
Promoting the dissemination of ceramic culture helps the innovative development of ceramic culture and art in the new era. For ceramic culture to develop in the long run, it is necessary to not only keep the tradition, but also to focus on the actual needs of modern society and achieve innovation. The creative transformation and innovative development of traditional ceramic culture will enable the Chinese nation to participate in world cultural exchanges with a stronger cultural confidence.

===References===

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

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===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Transmission of Contemporary Chinese Literature in English-speaking Countries: A Case Study of ''Red Sorghum'''''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===
In the globalization pattern of cultural pluralism and coexistence, it is the top priority of cultural construction and reform to enhance the global influence of Chinese culture and spread and promote Chinese culture to the world. It is our goal to promote Chinese culture to go global, and the translation of Chinese literature into foreign languages is an important means to achieve this goal. However, this process is not always smooth, and as the process of "going global" in China is hindered, people gradually realize that many factors other than the act of translation are affecting the "going global" of Chinese culture.

Mo Yan is a leading figure in contemporary Chinese literature, and after winning the Nobel Prize for Literature, the attention and sales of his works abroad have increased dramatically. At a time when translations of Chinese contemporary literature have repeatedly suffered setbacks, the successful translation of Mo Yan's novels has sounded the trumpet of victory. This paper analyzes the importance, current situation and reasons for the "going global" of contemporary literature with reference to Andre Lefevere's theory of "three elements" (patronage, ideology and poetics), and studies the successful translation of Mo Yan's masterpiece ''Red Sorghum'' overseas. The study of the successful translation of ''Red Sorghum'' overseas, and the exploration of the effective translation mode of contemporary literature in China, are hoping to contribute to Chinese contemporary literature's going global.

===Key words===
contemporary Chinese literature; transmission; ''Red Sorghum''

===Introduction===
With the further development of globalization, it is no longer a pure economic phenomenon. What accompanies economic globalization is political globalization and the exchange, collision and integration of "soft power" with cultural ideas, ideologies and values as its basic connotation across national borders. Culture is an important symbol of a country's soft power and plays an increasingly prominent role in the competition for comprehensive national power. The globalization of cultural communication has become a social reality that cannot be ignored. (Xu Wen 2013: 96) Different countries, nationalities and cultures want to communicate with each other, so that cultural communication can break through the original national boundaries and geographical restrictions, and eventually get out of the narrow and prejudiced national culture and gain recognition in the global scope.

The "going global" of Chinese culture has been elevated to a national strategic level, and the translation of contemporary Chinese literature, as an important carrier of culture, has assumed the primary task. However, it must be admitted that Chinese literature in general is still in a marginal position in the field of world literature. From the overall situation of translation and dissemination of Chinese contemporary literature, the problems of poor quality of translation, few number of publications, and low overseas acceptance are very prominent. According to statistics, during the nearly 110 years from the beginning of 1900s to the beginning of 2000s, China translated and introduced about 100,000 Western books, while the West introduced less than 500 Chinese books. In recent years, China has introduced about 150 American books in a year, while the United States has imported less than 10 Chinese literary works. (Bao Xiaoying 2015: 80) There is an obvious imbalance between the export and import of literature. Thus, it is clear that there is a long way to go for Chinese contemporary literature to "go global".

On October 11, 2012, Mo Yan was awarded the Nobel Prize in Literature, becoming the first Chinese writer to win the Nobel Prize in Literature. Since then, the popularity of contemporary Chinese literature in the world literary scene has increased dramatically, more readers from abroad have begun to pay attention to the works of contemporary Chinese writers, and the attention of overseas academic circles has also begun to focus on Chinese literature. This has offered a good opportunity for Chinese contemporary literature to go global, and also put forward new ideas for the study of translation and dissemination of Chinese contemporary literature overseas.

Since 1988, Mo Yan’s works have been translated into English, French, Spanish, German, Swedish, Russian, Japanese and other languages. As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. At the same time, as the first novel to be translated overseas and immediately gain acclaim and access to Western commercial channels, ''Red Sorghum'' has set a model for the translation and transmission of contemporary Chinese literature.

This paper takes Howard Goldblatt's translation of ''Red Sorghum'' as a case study to examine the overseas transmission and acceptance of this translation on the basis of previous studies, so as to provide some inspiration for the transmission of contemporary Chinese literature. Due to the limitations of language, this paper will only talk about the translation and transmission of contemporary Chinese literature in English-speaking countries.

===The Importance of Contemporary Chinese Literature Going Global===
Culture has always been an important factor affecting national competitiveness. All major countries in the world have made the improvement of their culture an important national development strategy. Every country, nation and culture wants to exchange with each other, so that their culture can break through the original national boundaries and geographical restrictions and achieve a wider and deeper dissemination. At present, "Chinese literature going global" is flourishing, and the translation of Chinese literature has become an important part of spreading Chinese culture (Bao Xiaoying 2013: 62). Since the 21st century, China has devoted itself to the translation and interpretation of Chinese literature, and has launched a series of publication projects on the translation and dissemination of Chinese literature. At the same time, many journals of Chinese literature in English translation have been established to promote contemporary Chinese literature to the English-speaking world (Yu Hong 2021: 112).

Culture is an important symbol of a country's "soft power" and a symbol of its influence and cohesion. Culture as a soft power plays an increasingly prominent role in the competition for comprehensive national power. Culture has always been an important factor in national competitiveness. Having a strong "cultural soft power" means being able to win the initiative in the fierce international competition. Without cultural soft power, a country has no connotation, no support, and cannot become a real major country.

The strategy of "going global" of Chinese culture was first proposed in the mid-1990s. The "going global" strategy is a major initiative in the new stage of opening up to the outside world. Since then, the "going global" strategy has been expanded from the economic field to the cultural field, and relevant documents have been issued one after another.

Chinese culture "going global" has two basic meanings: First, it is the dissemination of Chinese cultural ideas and cultural forms to the world through cultural exchange. Second, it refers to the export of cultural products and services in international trade (Xiao Yingying 2012: 84). Compared with developed countries in the West, China has a serious "cognitive deficit" in cultural trade, from ideas, cultural symbols to cultural products, and many countries still have a fragmented, one-sided and superficial understanding of Chinese culture. China's economy is growing, but it is still in a weak position in terms of cultural soft power, such as cultural communication and influence, and cultural weakness, which can only be solved by developing cultural industries and communicating with other cultures (Bao Xiaoying 2014: 7).

Communication is the nature of culture, through which different cultures can be perceived. In today's globalization, cross-cultural communication affects people's thought and behavior from different aspects. Translation has always played a very important role in the process of intercultural communication. Translation is not only the conversion of language, but also the transmission of culture. Translation can spread new ideas, new concepts and new technologies, promote cultural exchange and progress, as well as promoting the common development of different cultures. Throughout the history of Chinese and foreign cultures, it is evident that translation has played a great role in spreading cultures in the world. Translation has greatly enriched the exchange and dissemination of Chinese and foreign ideas.

Above all, translation bridges the language barrier between different cultural societies, contributes to the exchange and interaction of cultural information with other countries, facilitates the common development of national cultures, and promotes the sharing of human civilization. "The development within a country and the establishment of its international status depend largely on cultural soft power, and cultural soft power, whether imported or exported, is, in our opinion, first and foremost a translation issue." (Xu Jun 2012: 12) The current strategy of "going global" of Chinese culture advocated by the Chinese government is, in a small way, to export our "cultural soft power" through the power of "translation", and in a larger way, to enhance China's "international status" (Hu Anjiang 2012: 56).

The translation, publication and dissemination of Chinese literature have become an important part of China's cultural outreach. The world needs to observe China through Chinese literature, and China needs to show its true image through literature. Without the role of translation as a medium and without the outreach of translated texts, the outreach of Chinese culture will only be empty talk. It has always been the goal of the country to promote the "going global" of Chinese culture through the translation of Chinese classics (Bao Xiaoying 2013: 54).

===Transmission of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present) (Wan Yu 2021: 220).

In the first stage, China had fewer exchanges with English-speaking countries due to political-ideological conflicts. As a result, relatively few foreign-led publications of contemporary Chinese literature were published during this phase. In the first stage, contemporary Chinese literature translated to English-speaking countries focused more on social and political aspects than on literary aspects.

In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. Compared with the first stage, except for the selection of materials that glorified the revolution and took the working and peasant classes as the main characters in the early period of the founding of the PRC, the domestic publishing institutions were more strict about the themes of translated works during the Cultural Revolution. During this period, more works related to revolution and reflecting class struggle came to the English-speaking countries.

In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some works of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions didn't pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. Meanwhile, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak.

Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than publicity; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and markets. The English-speaking world, Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

Since Mo Yan was awarded the Nobel Prize for Literature, a large amount of Chinese literature, represented by his works, has been translated into the United States and other parts of the world. However, data show that translated works account for only 3% of the total number of publications in the United States, of which less than 1% are literary translations, indicating that the American public does not have an urgent and strong intrinsic need for foreign literature and culture (Xie Tianzhen 2019: 95).

===The Successful Transmission of ''Red Sorghum''===
'''Brief Introduction to ''Red Sorghum'''''

''Red Sorghum'' is a long novel written by Mo Yan, divided into five chapters: ''Red Sorghum'', ''Sorghum Wine'', ''Dog Ways'', ''Sorghum Funeral'', and ''Strange Death''. The five chapters were first published as novellas, of which ''Red Sorghum'' was first published in ''People’s Literature'' in 1986.

''Red Sorghum'' is a family saga of Yu Zhan-ao and Dai Fenglian(identified as Granddad and Grandma from a boy’s perspective), covering their romance, their spontaneous resistance against the Japanese invaders between 1939 and 1941. This novel is set in the fields of dense, tall, red sorghum plants in Northeast Gaomi Township, Shandong Province, China, hence the title ''Red Sorghum''. ''Red Sorghum'' is a classic work that shows the tenacity and national spirits of the Gaomi people in the Anti-Japanese war.

'''Translation and Transmission of ''Red Sorghum'''''

In 1988, Mo Yan’s work ''Dry River'' was first translated and published in Japan, and in 1999, a total of 54 foreign translations of Mo Yan’s works were published during the 11 years, focusing on three works: ''Red Sorghum'', ''Red Sorghum'' and ''The Garlic Ballads''. A total of 30 overseas publications of ''Red Sorghum'' and ''Red Sorghum'' accounted for nearly 60% of the total overseas publications of Mo Yan’s works during this period.

As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. Compared to most Chinese literary works that do not sell well overseas, the sales of ''Red Sorghum'' are more optimistic. According to scholar Bao Xiaoying’s statistics, the English version of ''Red Sorghum'' was published in 1993 and sold more than 50,000 copies in a dozen years, which is not bad sales.

A very important indicator of the reach of a Chinese work of literature in the United States is the number of U.S. libraries that collect the work. If the number of U.S. libraries collecting the work is high, it means that the work is widely distributed in the United States, and vice versa (Liu Guozhi, Chi Changhai. Li Qingliu 2022: 60).

According to the table of the top 10 ranking of the dissemination of English-translated Chinese contemporary novels published in the United States, it can be seen that the English-translated novel ''Red Sorghum'' ranks third overall among the Chinese contemporary novels published and disseminated in the United States. It can be said that ''Red Sorghum'' is the most widely distributed Chinese contemporary novel in the United States. Table 2 shows the collections of public and community libraries and libraries of universities and research institutions in different states. It also shows the ranking and distribution of the top ten states in the United States for the distribution of the novel ''Red Sorghum'' in English translation. Six of the top ten states have more than 40% of the public and community libraries collecting ''Red Sorghum'': 50% in Ohio, 49.23% in Illinois, 48.92% in California, 43.90% in Florida, 43.24% in North Carolina, and 41.27% in Texas, with Ohio accounting for half of the public and community libraries. . These data indicate that the Chinese contemporary novel ''Red Sorghum'' has entered public and community libraries in the U.S., showing that the structure of Chinese contemporary fiction distribution and readership in the U.S. is changing, shifting from its previous distribution primarily in universities and research institutions to the general public. (Two tables mentioned cannnot be uploaded)

'''The Reasons for ''Red Sorghum's'' Successful Transmission'''

The popularity of ''Red Sorghum'' overseas was made possible by many factors. The film of the same name is the pioneer. Thanks to the award-winning film, the translation and dissemination of the novel was promoted overseas. Coupled with the unique perspective and content of the work itself, and the translator Howard Goldblatt’s promotion and personalized translation, the successful transmission of this work was achieved.

'''The Literary Value of the Work Itself'''

Mo Yan, born in 1956 in Gaomi County, Shandong Province. ''Red Sorghum'' is based on the life of his hometown during the anti-Japanese war. Unlike other anti-Japanese literature, Mo Yan's anti-Japanese story is told from the perspective of ordinary people, which is more real and deeper. Mo Yan's literary works often portray original life with bold, mischievous depictions that resonate strongly with readers and shock them. In this novel, there is both questioning and rebellion against existing traditional values, as well as profound analysis of feudal ethics and human nature.

The theme of ''Red Sorghum'' is not only to promote the idea of living a bold, emancipated and frank life, but also to celebrate the patriotic spirit of the heroic resistance to Japan. The so-called "personality liberation" refers to the liberation of the "human" personality. Human being" is the unity of "spirit" and "flesh", "divinity" and "bestiality", "spirit" and "matter", "social man" and "natural man". Man has a "natural human nature", that is "human's" survival instincts and natural desires.

The novel ''Red Sorghum'' not only promotes the liberation of individuality, but also celebrates the tenacity and sacrificial spirit of anti-Japanese patriotism. This dual theme of enlightenment and salvation in literature is an inheritance of the May Fourth tradition. Both the May Fourth movement and the New Culture Movement happened at a time of increasing imperialist aggression against China and a sense of national crisis and the increasingly urgent historical requirement for national self-improvement, self-reliance and salvation.

'''The Pioneering Role of the Film ''Red Sorghum'''''

In today's era of new media, for many readers, they first come to the original work through an adaptation of the work, such as a film or television production. In other words, these readers get to know a literary work or a writer through a film or television work (Hao Dan 2019: 58). In fact, this is how foreign publishers and readers come to know Mo Yan and his ''Red Sorghum''. In 1988, the movie ''Red Sorghum'' directed by Zhang Yimou was released in Canada, the United States and other places. It is worth noting that not only the movie is adapted from Mo Yan's novel ''Red Sorghum'', but its screenwriting team also includes Mo Yan himself. In 1986, when Zhang Yimou decided to make the movie, Mo Yan only received 800 yuan in royalties and 1200 yuan in screenwriting fees. He would not have imagined that in the fifth year after the film's release (1993), the English translation of ''Red Sorghum'' would be published by Penguin Publishing in the United States, with a first printing of 10,000 copies. The number of its first printing is not large, but it is very rare for a contemporary Chinese writer in the early 1990s to have such a publishing opportunity and achievement in the United States. In addition, in 2004, when the American Arcade Press published Mo Yan's another work Big Breasts and Wide Hips, the publisher still mentioned the film ''Red Sorghum'' in the recommendation, which shows the role of the film in the dissemination of Mo Yan's novel.

It can be said that the translation and publication of the English translation of ''Red Sorghum'' is mainly based on the impressive international achievements of the film: in 1988, the film won the Golden Bear Award at the 38th Berlin International Film Festival, the Best Film Award, the Best Director Award, the True Novelty Award for feature films at the 5th Zimbabwe International Film Festival, the Film Critics Award at the 35th Sydney International Film Festival, the 1st Marseille International Film Festival in Morocco, and the Golden Bear Award for the Best Film at the 16th Brussels International Film Festival. In 1989, the film won the Best Film Award from the Radio Audience Jury at the 16th Brussels International Film Festival and the Silver Bear Award at the 5th Montreal World Film Festival in France; in 1990, the film was nominated for the annual prize of the GDR Filmmaker's Association for the ten best feature films of the annual Cuban Film Distribution Awards. Shortly after the film won the awards, Viking Penguin Press took the initiative to invite Howard Goldblatt to translate Mo Yan's ''Red Sorghum''. Of course, the translation of Mo Yan's work into English did not begin with ''Red Sorghum'', but prior to the award-winning film ''Red Sorghum'', Mo Yan's work had never been published in a single volume by a publisher in the English-speaking world.

'''Howard Goldblatt's Translation and Promotion'''

When it comes to the transmission of ''Red Sorghum'' in the English-speaking world, the contribution of its translator, Howard Goldblatt, cannot be overlooked. Howard Goldblatt is a well-known American sinologist and translator who has a high level of attainment in the study of contemporary Chinese literature, and has translated a large number of Chinese literary works. He was born in 1939 in California, USA. Later, while attending the U.S. Naval Officer's School, he was sent to serve in Taipei. While serving, Howard Goldblatt learned Chinese and read books to kill time, and gradually fell in love with Chinese culture. After studying Chinese at the National Taiwan Normal University for about a year, his Chinese language skills improved greatly. Later, he entered San Francisco State University and systematically studied Chinese language and literature. Because of his love for Chinese language and literature, He worked as a Chinese language teacher for one year after graduating with his master's degree. In order to continue to improve his Chinese language, he entered the Department of East Asian Languages at Indiana University to pursue a PhD in Chinese literature. In 1984, with his active leadership and assistance, ''Modern Chinese Literature'', a scholarly journal devoted to Chinese literature, was launched, with Howard Goldblatt as editor-in-chief, giving readers in the English-speaking world the opportunity to read Chinese literature, which contributed greatly to the promotion of Chinese literature.

As a confidant of Chinese literature, Howard Goldblatt has never stopped studying and translating Chinese literature for more than thirty years. His profound knowledge of both Chinese and English, good knowledge of Chinese literature, keen literary insight, and excellent translation skills have contributed to the achievement of Mo Yan, who was awarded the Nobel Prize for Literature, as well as to the dissemination of Chinese literature in the world and to the equal dialogue with world literature.

After Mo Yan won the Nobel Prize, almost everyone said that it was the translator Howard Goldblatt who made Mo Yan a success, and this is not an exaggeration. In terms of the text itself, there are two conditions for a work of contemporary Chinese literature to get the attention of publishers in English-speaking countries: one is a good story, and another is an authentic translation. A well-told story is a response to the cultural psychology and reading habits of the target readers. A good translation is very important in the translation of Mo Yan's works, because most of Mo Yan's novels have a unique Chinese historical background and profound Chinese traditional cultural connotation. Although he is known to the world literary world as a "storyteller", if the translator fails to translate the Chinese history and culture implied behind the Chinese language as effectively as possible into a language that can be understood by English-speaking readers, the transmission and popularity of these works will be difficult to achieve.

'''The Role of Publishing Brokers and Houses'''

For the works of Chinese writers to spread overseas, they must be supported and promoted by authoritative publishing brokers and publishing companies. The reason why Mo Yan's ''Red Sorghum'' is so popular in English-speaking countries is the support of his publishing agent team and Arcade Publishing.

Beijing Genuine&Profound Culture Media Co.,LTD.(hereinafter referred to as "Genuine&Profound") actually plays the role of a copyright agent for Mo Yan's works, responsible for developing the value of Mo Yan's works and planning the publication and distribution of Mo Yan's works. As the book publishing industry becomes more open and free, contemporary Chinese writers have had more knowledge of the publishing market, and some of them have realized the importance of publishing agents. A publishing agent, often called a copyright agent, is a middleman or intermediary that connects a work with a publisher. A publishing agent signs a copyright agency contract with a writer, and then helps the writer find a publishing platform for the work or an opportunity to exploit subsidiary rights related to the work. The services of a publishing agent are what Genuine&Profound provides for Mo Yan.

The uniqueness of Genuine&Profound lies in the fact that it has proposed the business model of "360°celebrity brokerage" for the first time in the industry. This service includes paper book publishing, digital rights management and promotion, promotion of film and television rights of literary works, brokerage of famous artists' artworks, promotion of famous artists' business and social activities, provision of artwork trading platforms, development and sales of derivatives, and legal protection of rights. With respect to Mo Yan's works, it believes that the value of Mo Yan is not only reflected in the publication and distribution of his Chinese works, but also in the overseas publication rights of paper books, film and television adaptation rights, digital publication rights, sales rights of calligraphy works and other subsidiary rights related to them.

The man behind Arcade Publishing, which has published five titles of Mo Yan's works in English translation, is in fact Richard Seaver, Mo Yan's most important advisor in the American publishing world. Arcade Publishing was established by Richard Seaver in 1988 to publish fiction and non-fiction literature. After Richard's death in 2009, Arcade went bankrupt and was acquired by Pegasus Publishing in July of the following year, and relaunched in 2011 under the name Pegasus, with its main focus remaining the same and the addition of some art books (Hao Dan 2019: 59). Today, Arcade Publishing has published nearly 300 authors from over 30 countries. Arcade Publishing has always been a great admirer of Mo Yan's works, and the front page of Arcade's official website has for quite some time read: Arcade and Skyhorse congratulate Mo Yan on winning the 2012 Nobel Prize for Literature". Unfortunately, Richard passed away without waiting for Mo Yan to win the Nobel Prize, but his remarkable vision and solidity as a publisher have made him immortal.

===Conclusion===
Literary works that "go global" should have both universal and heterogeneous qualities in themselves. Universality can resonate with overseas authors, while the unique local characteristics of the works excite readers' interest (Zhang Lijun, Yu Huijun 2021: 92).

Another important factor in the success of Mo Yan's overseas distribution was mentioned earlier: the overseas influence of Zhang Yimou's film. The huge market for films often plays an excellent role in advertising and rapidly promotes the translation and publication of original literary works overseas. The spread and influence of contemporary Chinese literature and Chinese films overseas actually help each other. On the one hand, this shows that outstanding literary scripts are an important basis for the success of films; on the other hand, it also shows that successful film operations will produce a chain effect that can lead to a series of related cultural industries.

In addition, in the process of Chinese literature going global the selection of translation subjects is crucial. Local translators in China do not know enough about the reading habits of Western readers and lack in-depth research on the literary publishing market, so the dissemination of works translated by them is inevitably hindered abroad. In contrast, foreign sinologists have the unique advantage of being the ideal translators for Chinese literature to go global. Local Chinese translators are more likely to perceive Chinese characteristics and outstanding literary works, while the group of sinologists has a deeper understanding of the target language readership and dissemination. The advantages of both complement each other, thus promoting Chinese literature to go out better.

In addition, nowadays, in the context of globalization, it is also very important to establish a good relationship with foreign well-known publishing institutions. ''Red Sorghum'' was released by a well-known foreign publisher, so that it could be more widely known by its target readers. The most important thing is that major publishers can get a good understanding of the market, which is conducive to the dissemination of Chinese literature in the West.

The experience of the successful dissemination of ''Red Sorghum'' shows that for contemporary Chinese literature to go global, not only is there a requirement for the quality and cultural value of the work itself, but there is also a need for reliable translators and authoritative publishing partners.

===References===
Bao Xiaoying鲍晓英. (2013) 中国文化“走出去”之译介模式探索——中国外文局副局长兼总编辑黄友义访谈录[Explorations on the Translation and Communication Model for Chinese Literature Going Out—Interview with Huang Youyi, Deputy Director and Editor-in-Chief of China Foreign Language Bureau][J]. ''中国翻译'' [Chinese Translators Journal] (5): 43-45.

Bao Xiaoying鲍晓英. (2014) 中国文学“走出去”译介模式研究——以莫言英译作品美国译介为例[Study on the Translation and Communication Model for Chinese Literature Going Out—with the Communication of Mo Yan's English Translations in America as an Example][C]. Shanghai International Studies University上海外国语大学.

Bao Xiaoying鲍晓英. (2015) 译介学视野下的中国文化外译观—谢天振教授中国文化外译观研究[The View of Chinese Culture in Foreign Translation from the Perspective of Translation Studies—A Study of Professor Xie Tianzhen's View of Chinese Culture in Foreign Translation][J]. ''外语研究'' [Foreign Languages Research] (5): 78-83.

Hu Anjiang胡安江. (2012) 再论中国文学“走出去”之译者模式及翻译策略——以寒山诗在英语世界的传播为例[The Translation Model and the Translating Strategy Revisited—with the Dissemination of Cold Mountain Poems in the English World as an Example][J]. ''外语教学理论与实践'' [Foreign Language Learning Theory and Practice] (4): 55-61.

Hao Dan郝丹. (2019) 莫言作品英译本的出版传播经验研究[A Study of the Publication and Dissemination Experience of Mo Yan's Works in English Translation][J]. ''对外传播'' [International Communications] (06): 58-60.

Liu Guozhi, Chi Changhai, Li Qingliu刘国芝，池昌海，李清柳. (2022) 英译小说《红高粱》在美国的传播与接受[Dissemination and Reception of the English Translation of Red Sorghum in America][J]. ''中国翻译'' [Chinese Translators Journal] 43(02): 59-66.

Wan Yu万聿. (2021) 中国当代文学英译概览与研究综述[Overview and Research Review of English Translation of Contemporary Chinese Literature][J]. ''复旦外国语言文学论丛'' [Fudan Forum on Foreign Languages and Literature] (02): 215-223.

Xu Jun许钧. (2012) 翻译研究之用及其可能的出路[Translation Studies in China: Its Functions and a Possible Direction for Its Further Development][J]. ''中国翻译'' [Chinese Translators Journal] (1): 5-12.

Xie Tianzhen谢天振. (2019) 译介学:理念创新与学术前景[Medio-translatology: Its Innovative Concepts and Academic Prospects][J]. ''外语学刊'' [Foreign Language Research] (04): 95-102.

Xu Wen徐稳. (2013) 全球化背景下当代中国文化传播的困境与出路[The Dilemma and Solution of the Advanced Culture Transmission under the Background of Globalization][J]. ''山东大学学报（哲学社会科学版）'' [Journal of Shandong University(Philosophy and Social Sciences)] (4): 96-103.

Xiao Yingying萧盈盈. (2012) 中华文化走出去的现状分析与发展思考[Analysis of the Current Situation and Development of Chinese Culture Going Out][J]. ''现代传播'' [Modern Communication] (1): 84-86.

Yu Hong于虹. (2021) 译介学与中国现当代文学在美国的翻译与传播[Medio-translatology and the Translation and Dissemination of Contemporary Chinese Literature in America][J]. ''外语学''刊 [Foreign Language Research] (02): 112-115.

Zhang Lijun, Yu Huijun张丽君，余慧君. (2021) 有声与无声——莫言《红高粱》海外传播的启示[Sound and Silence—Enlightenment of Mo Yan's Red Sorghum's Overseas Communication][J]. ''文化创新比较研究'' [Comparative Study of Cultural Innovation] 5(21): 89-92.

===Terms and expressions===
《红高粱家族》 ''Red Sorghum''

诺贝尔文学奖 the Nobel Prize for Literature

安德烈·勒菲弗尔Andre Lefevere

三要素理论 "three elements" (patronage, ideology and poetics)

葛浩文 Howard Goldblatt

文革 the Cultural Revolution

《枯河》 ''Dry River''

《天堂蒜薹之歌》 ''The Garlic Ballads''

企鹅出版公司 Penguin Publishing

《丰乳肥臀》 ''Big Breasts and Wide Hips''

柏林国际电影节 Berlin International Film Festival

津巴布韦国际电影节 Zimbabwe International Film Festival

悉尼国际电影节 Sidney International Film Festival

马拉什国际电影电视节 Mar del Plata Film Festival

布鲁塞尔国际电影节 Bruxelles International Film Festival

蒙彼利埃国际电影节 Montreal World Film Festival

《中国现代文学》 ''Modern Chinese Literature''

北京精典博维文化传媒有限公司 Beijing Genuine&Profound Culture Media Co.,LTD.

拱廊出版公司 Arcade Publishing

理查德·西维尔 Richard Seaver

===Questions===
1. What's the "three elements" put forward by Lefevere?

2. How many American books has China introduced in a year recently?

3. When was Mo Yan awarded the Nobel Prize in Literature?

4. Which novel is the most translated and reprinted work of Mo Yan?

5. How many stages are there in the history of contemporary Chinese literature in English-speaking countries?

6. What are the reasons for ''Red Sorghum's'' successful transmission?

===Answers===
1. Patronage, ideology and poetics.

2. About 150.

3. On October 11, 2012.

4. ''Red Sorghum''

5. Four.

6. The literary value of the work itself; the pioneering role of the film ''Red Sorghum''; Howard Goldblatt's translation and promotion; the role of publishing brokers and houses.

20220630 Culture 5

2022-07-06T14:19:30Z

Liu Shuangying: /* Subtitle2 */

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

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

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==英语笔译刘乐乐 Liu Lele 202170081584==
Chinese Online Fantasy Novels：A comparison Between Dragon Raja and Harry Potter
Liu Lele
===Abstract===
Harry Potter and Dragon Raja, two famous fantasy novels, are similar in many ways including plots, character settings and so on. Since the former is famous across the world while the latter have not been translated from Chinese into English yet, we can learn a lot sentence patterns, phrases, and words from Harry Potter when translating Dragon Raja into English.
===Key words===
Dragon Raja; translation material; communication; fantasy
===Introduction===
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.
===Similarities===
Harry Potter starts from the family of Mr. Dursley, the husband of the main character Harry Potter’s aunt, and Dragon Raja also starts from the family of Mr. Lu Gucheng, the uncle of the main character Lu Mingfei.

There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.

In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.

Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.

Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon Raja", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a loser in Dragon Raja. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.

In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.

Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.
===Differences===
As mentioned above, Harry Potter has a lot in common with Dragons, but that doesn't prevent both books from being excellent fantasy novels. Although there are many similarities between the two works at first glance, there are fundamental differences between the two works
"Harry Potter" is mainly based on the British or European wizard culture as the creation, describes an imaginary magical world. The Dragon Race, on the other hand, mainly creates a dragon world based on Nordic mythology. While Harry Potter is full of wizarding legends and English history, Dragons is based on Norse mythology, but mostly borrows from names and allusions.

Most of the stories in harry Potter take place at Hogwarts, so the rest of the books are very brief. Dragons takes place everywhere, not just at Castle College.

In both books, there are special groups with superpowers, wizards and dragon hybrids. But their lifestyles are totally different. Wizards are more isolated and do not generally interact with Muggles; Hybrids, on the other hand, are hidden in the secular world and hold impressive secular power. And when dealing with enemies, wizards can only use magic, which means that only magic can defeat magic in the Harry Potter worldview. In Dragon Race, the hybrids are very willing to use the power of technology. Science is very important in Dragon Race, and the hybrids are always looking for the combination of dragon power and science.

The ultimate villains in Harry Potter are pure-blood believers led by Lord Voldemort, but they still belong to wizards. As far as dragons are concerned, the villains are dragons. Simply put, the villains in Harry Potter are wizards, while the villains in Dragons are other races. Those who are not of our kind have different hearts. So Dragons as a whole reads more murder and hatred than Harry Potter.

Harry Potter is a fairy tale with strong religious significance in essence. There are many fairy tale elements and religious metaphors in it, and more of them are religious thinking to persuade people to be good. "Dragon Raja" is a secular novel for young people from the beginning, most of which is about the discussion of common people themselves.

In Harry Potter, because it is the essence of fairy tale, the protagonist is naturally good, while the villain is naturally evil. The definition of good and evil is very simple and crude. In The Dragon Clan, it seems that the dragon clan is the villain, but the dragon clan described in the book is not necessarily evil. The confrontation between the hybrid and the dragon clan is more for survival status than good or evil.

In fact, there are many differences between the two works. For example, Lumingfield is more close to ordinary people and easier for us to relate to, while Harry is more like imaginary characters.
===Borrowing from Similarities===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

3.1Sentence Patterns
(1)The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。
In Dragon Raja, it is the same case. So we can translate the above sentence into:
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.

(2)Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...
这也许是杜斯礼一家搞的恶作剧？
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt. So we can translate the above sentence into:
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?

3.2 Phrases
(1)A deafening shout：震耳欲聋
Both in Harry Potter and in Dragon Raja, there’s people like shouting at the main characters, so we can use this phrase to make a vivid description of it.
(2)Questions exploded inside Harry’s head like fireworks.
These two words , “Explode” and “Fireworks”, together constitutes an lively description of the scene. Lu Mingfei was loaded with questions in his head when starting to know everything about dragons, which sounds unbelievable in the real world.

(3)The rattling cart火车咔嗒响。
Both Harry Potter and Dragon Raja have their special trains lead to the schools. So when depicting the sound a train makes in its way, we can use this phrase.

3.3 Words
Since both of the two are novels, when doing translating, we can meet a lot dialogues, which means the Chinese character--”说(said)” will need various substitutions. Besides, there are many descriptions of movements and expressions. Both these words can be very tricky when doing translating. Fortunately, Harry Potter offers various translations of them.

3.3.1 Words to describe the act of speaking(说）
(1) ...Harry asked urgently.
急忙问道，急切问道。
(2) ...said the boy, with a slight sneer.
男孩冷笑道(3)...said the pale boy carelessly,
男孩面色苍白，漫不经心地说
(4) ...he began
他开始说到
(5)...asked politely
礼貌地问
(6)...asked Seamus with great interest.
饶有兴趣地问
(7)...he said coolly
他冷冷地说

3.3.2 Movements and Expressions
(1) waves merrily at him
开心地朝他招手。
(2) sneaking to the kitchen for some food
溜进厨房找东西吃
(3) collapsed into a chair
一屁股坐下
(4) made both of them jump
两个人都吓了一跳
(5) hamming on the door to wake you up.
捶门叫她起床
(6) drumming their fingers on the glass
手指在玻璃上敲击
(7)his stomach rumbling with hunger
肚子咕咕叫
(8) Harry sighed and stretched out on the bed
哈利叹了口气，在床上躺成“大”字形
===Application in translating===
大脸猫头像跳闪，“诺诺”上线。
The profile of a big-face cat flickered, which means NONO got online.
路明非犹豫了一下，“是你？”
“Is that you?”hesitated a little, Lu Mingfei asked
“嗯，陈墨瞳。”诺诺的回答显得懒洋洋的，“没事上来打两盘。”
“Yeah,it’s me, Chen Motong.”She said carelessly,”Got no better things to do than some gaming.”
“你怎么知道我的ID？”
“How did you get my ID?”
“人肉搜索啊，嘿。你居然用‘明明’这种ID，像女孩似的，还有‘夕阳的刻痕’……你是人妖么？”
“Cyber manhunt. Hey, you took Mingming as your ID. Girlish! And “sunset”,are you sure you are not a ladyboy?
“这都能人肉到？千万保密，那是我来逗我弟玩的。”
“You even knew this?! Please keep this secret for me. That’s for playing some little tricks on my cousin.”
“开玩笑的啦，诺玛搜索到的，这对诺玛小菜一碟。你星际打得不错。”
“Just joking. It’s Noma, our intelligent computer, that got all this information. It’s a piece of cake for her. By the way, you are good at Starcraft.”
“行了，我都输给你了。”
“Come on, I lost to you.”
“是我输，诺玛和我一起打的，我们两个控制一家。最后我知道你在升三级基地，因为诺玛偷偷开了地图，看见了。”
“I should be the loser. I played the game with the help of Noma.
“作弊死全家！”路明非打出这句话。
“Cheaters will have his family completely died.” Lu Mingfei type this sentence.
只是随手，这话在群里大家随便说，没谁真的往心里去。
It’s just an online phrase that were often used and no one would take it seriously.
“我家只有我一个人。”诺诺回复。
“I’ve already got no family to lose.”answered Nono.
路明非愣了一下，“对不起。”
Lu Mingfei was stunned a little, and said,”sorry.”
“这有什么对不起的？”诺诺答得很平淡，“玩一盘？”
“Nothing to feel sorry about.”Nono said carelessly still,”Want a game?”
“没心情。”
“not in the mood.”
“失恋了？”
“Broke up with your girlfriend?”
路明非浑身一个激灵，诺诺像是个小巫婆似的，看穿了他的一切，叫他完全无处容身。
“Lu Mingfei was shocked. Nono’s like a little wizard, seeing through everything of him.He could hide nothing in front of her.
“还没有……我没有女朋友，当然不会失恋了，姐姐你想怎样啊？”他输入。
“How can I break up with my girlfriend when I don’t have a one? So what do you want? Big sister!”He typed.
“姐姐叫得还蛮甜的，”诺诺扔出一个龇牙咧嘴的笑脸，“来吧，说说到底怎么回事，我也许能帮上忙。”
“That’s sweet.”Nono sent him a grinning smile,”Alright, let’s hear it.Maybe I can help you.”
“你帮什么忙？你又不认识她。”
“I doubt that.You don’t know about her.”
“我是不认识陈雯雯。”小巫婆诺诺回复得极快。
“Yeah, I do know nothing about Chen Wenwen.”
“你到底知道多少？”路明非忽地很惊恐。
“How much do you know?”Lu Mingfei suddenly got frightened.
“太多了。”
“too much.”
“你们……到底是谁？”路明非手有点抖。
“Who are you?”Typed Lu Mingfei with trembling fingers.
(1) 路明非在屏幕上无奈地打出“GG”（“GG”，指“Good Game”，在竞技类游戏中称赞对方玩得好，也是认负的意思），而后切出了游戏。屏幕上显示的最后一个场景，是十二艘人类巡洋舰以华丽的大和炮聚焦射击，把他的母巢化作了一滩血水。
Lu mingfei reluctantly typed "GG" (" GG "refers to" Good Game "in a competitive Game) on the screen before cutting out the Game. The final scene shown on the screen was twelve human cruisers firing in focus with their magnificent Yamato guns, turning his brood into a pool of blood.
(2) 他输掉了今天的第六局，胜负比例是零比六，这一次他坚持到了22分23秒才被拿下，不过最终还是被拿下了，对方的微操很好，用的又是人类，人类的机枪兵在这个游戏里是个变态的兵种，出枪速度为零，站住了拔枪就射，收枪就跑，路明非的小狗追不上，在路上就一只只被打爆了。
He lost his game for today 6-0，with round 6 hanging/lasting for 22 minutes 23 seconds. His opponent is very good at micro control, with the use of Terran whose riflemen，capable of shooting in an instant，is extremely strong in the game. stood still pull out a gun shoot, gun ran, Lu MingFei's puppy can catch up, thus getting beaten up one by one.
路明非没啃声儿，切到QQ上，那个戴棒球帽的女孩头像还是灰色的，一动不动。对方没上线，又白等了。他抓了抓脑袋，有点失望。另一个头像倒是跳了起来，是个长得很欠的熊猫。
Lu Mingfei did not answer. Switch into QQ, the profile of a girl wearing a baseball cap stayedgray and quiet there. She wasn't online, and he was just waiting for nothing. Scratching his head, he felt a little upset. The other profile was active though，a very disturbing panda.
===Conclusion===
Both Dragon Raja and Harry Potter are great fantasy novels. Dragon Raja has only been enjoyed in China, which to some extent is because it has no other versions than Chinese ones. Harry Potter has both attracting languages and similar plots with Dragon Raja, so there are things can be learned from it.
===References===
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.

==英语笔译刘双英 Liu Shuangying 202170081585==
<center>'''The Devlopment and Dissemination of Chinese Ceramic Culture'''</center>

<center>Liu Shuangying</center>

===Abstract===
===Key words===
===Introduction===
As China's national strength continues to rise, its economy is growing rapidly, but traditional Chinese culture has not yet been well spread. China was one of the first countries to make pottery, and the birthplace of porcelain. From the current archaeological excavations, the earlist ceramics may be the porcelain products created by primitive people when they found that clay was pounded into mud and coated on a container consisting of grass and wood, and the mud would no longer dissolve in water after firing, and soon they started learning to make objects using only clay.(Guo Yue&Song Lili 2022, 31）
The ceramic culture explored in this paper has a long history, but with the development of the times, today's Chinese ceramic culture is far less flourish than in the past. At a time when the country is vigorously promoting cultural outreach and enhancing cultural confidence across the board, it is especially important to reinvigorate ceramic culture and strengthen the development and dissemination of Chinese ceramic culture. People from other countries in the world do not yet know much about traditional Chinese culture, especially in some specialized fields, such as the pottery-making techniques in ceramic culture, and sometimes the knowledge and terminology in these fields are not well understood by our own Chinese laymen as well, who only know some very basic and superficial things. Foremostly, we have to understand its intrinsic cultural connotation and unique historical value before we can plan for its way out and prepare for its revitalization. Therefore, the dissemination of these traditional cultures requires more effort, time and energy to get out of the country, catering to the strategy of "Chinese culture going out" as stated by General Secretary Xi Jinping, which is also of great practical significance to the Chinese dream of the great rejuvenation of the Chinese nation. Only when the economy and culture develop together, and the most characteristic industries of the nation are exported to the outside world, so that more people can understand its unique characteristics, can a country be truly strong and respected by the world.

===The connotation of ceramic culture===
Ceramics is a general term for pottery and porcelain, and ceramics itself is a kind of arts and crafts, as well as a folk culture, which can be seen in folk and temple in ancient times. Mr. Chen Yuqian combined the practicality and aesthetics of ceramics, the unity of science and technology and plastic art and regional factors to define ceramic culture: the essence of ceramic culture actually refers to the various types of cultural connotations embodied in the process of production to display and sale of ceramics.（Hong Lin 2018, 07）Traditional ceramic culture, commonly speaking, is the way of inheritance preserved by the ancestors of the Chinese nation in the production of ceramics, making objects. It is the evolution of ancient Chinese traditional thought, with local folk customs as the core, reflecting the aesthetic ideas of the people, the pleasure of life and the laws of formal beauty at that time.（Wang Fang 2017, 163）
In the light of the above opinions, I believe that ceramic culture includes not only the crafts of making various kinds of fine ceramics, but also the various ideas incorporated into porcelain by ancient working people when making ceramics. From the very beginning, ceramics were only designed for daily use, but later on, various carving techniques were developed, colors were enriched, painting and calligraphy were incorporated into ceramics, and so on, making ceramics more and more exquisite. And in different periods, ceramics show different appearance, and people's preferences for thier appearances and colors, for each stage of the unique image reflects the social landscape of the period, reflecting the rich historical stories behind the characteristics of the historical form of special periods, such as the famous ceramics of different historical periods, such as the Tang Dynasty’s "Tang Tri-Color Glazed Ceramics", the rich colors of the ceramics had changed the style of plain porcelain in the past, reflecting the openness and inclusiveness of the Tang Dynasty to a certain extent. There are many other famous ceramics of other dynasties that reflect the special connotation of the times and the temperament of the people. This is the ceramic culture hidden deeply in the ceramics, which is worthy of our study and learning, and should be vigorously inherited and developed, which is what our country has been advocating that we should stay true to cultural confidence, requiring the Chinese people to adhere to the excellent Chinese traditional culture and faith. It’s the pride of the advanced culture of socialism with Chinese characteristics. Ceramic culture is also something that should be spread vigorously in the new era, so that we can let more people obtain more specific information about China and enhance its the international status.

===The development of ceramic culture in different dynasties===
Ceramic culture has been an important part of Chinese more than 5,000 years culture, and ceramics have been produced for thousands of years since the ancient times.（Shao Changzong 2022, 01）Ceramic culture began in the Neolithic period, and each historical period has shown different characteristics. During the Tang Dynasty, there is the famous " Tang Tri-Color Glazed Ceramics " ceramic culture, which reflects the characteristics of the pottery skills of the Tang Dynasty. During the Yuan Dynasty, there is the famous "Jingdezhen blue and white porcelian" ceramic culture, and many people know about Chinese ceramics because of the blue and white porcelian. Black pottery, colored pottery, etc., all reflect the characteristics of unique aesthetic skills. Just like our modern life, the things that are popular in different periods will be different, which to a certain extent can also reflect the current social customs and mainstream thinking, so the different types and colors of ceramics presented in different historical periods reflect the ceramic culture, but also reflect the thinking of the people in the society at that time.
======Neolithic Period======
The ancestors living in mainland China during the Neolithic period had already learned to fire pottery for daily use, and some data even show that early wine vessels had already appeared.（Yang Xiao 2020, 43）
The distribution and phasing of Neolithic ceramics in China are often divided according to two major basins: the Yellow River basin is divided into Yangshao culture, Majiayao culture, Qijia culture, Dawenkou culture, Longshan culture and other small branches according to the historical development, and the Yangtze River basin can be divided into Daxi culture, Qujialing culture, Hemudu culture, Majiabin culture, Songze culture and Liangzhu culture. Neolithic pottery is mostly decorated with geometric patterns and red and black colors, which indicates that people have mastered the theory of red and black color change of hematite. According to the information found, the following is a brief introduction to the pottery of the Yangshao and Longshan culture periods.
The Yangshao culture period is dominated by sandy red pottery, brown pottery and clay red pottery, with less gray and black pottery. Color pottery is the most representative kind of pottery in Yangshao culture. Shaoyang culture early pottery production method is mainly done by hand, to the middle and late stages "rotating method" slowly appeared. The surface of the pottery is mainly plain and polished, and the decorations have rope pattern, scratch pattern and so on. Pottery is mainly used for daily life, such as food and drinking utensils. Long Shan culture pottery is dominated by sandy gray and black pottery and clay gray and black pottery, black pottery, brown pottery and red pottery second. During this period, the rotating method has been quite common, hand-made and coil method is still seen in use. The surface text of the ware is mainly rope pattern, chevron pattern, etc., and the types of pottery are also more abundant than during the Yangshao culture.
======Xia, Shang and Zhou Periods======
Xia Shang Zhou pottery is the pottery in the bronze age, so the appearance of the pottery in this period mostly imitate the bronze’s. Early pottery-burning kilns appeared in the Xia Dynasty are similar in appearance to the dome kilns in the north. Although the Shang Dynasty did not stand out in the quality of ceramics, but was the first one created the earliest "glaze", which is applied to the pottery, playing a beautiful and clean role, in addition to slowing down the speed of water seepage of pottery, laying the foundation for the emergence of porcelain. Chinese working people mastered the art of glazing on pottery and invented the real sense of porcelain. Compared with the previous pottery, porcelain is solid and durable, with smooth and beautiful body. The emergence of porcelain techniques is a great progress in the history of the world’s porcelain.（Wang Lun 2021, 44）The primitive porcelain made in the Shang Dynasty, also known as glazed porcelain, with features of bright glaze, bright colors, high hardness, and low water absorption.（Jia Binqiang 2017, 24）
The primitive porcelain of the Shang dynasty is made of kaolin clay, firing above 1200 degrees Celsius, whose color of the clay body is mostly off-white, and the glaze is even and bright, emboding a charming color. These characteristics are basically similar to the conditions that porcelain should have. However, its clay body material is not fine enough, and what’s worse, there is a certain degree of water absorption, no light transmission, poor combination of clay and glaze, and easy to flake.
======The Qin, Han and North-South Dynasties======
The Qin Dynasty saw the emergence of large terracotta figurines, and the most famous of which is what we know today the life-size terra-cotta soliders ans horses in Chin tomb. They are very realistic and tall, and very delicate, which shows that the pottery making technique in China reached a very high level in the Qin Dynasty. During the two Han dynasties, pottery was still dominated by gray pottery, with a variety of shapes, and in addition to living pottery, there were also burial ware and architectural pottery. Most notably, in the Eastern Han Dynasty, the successful firing of celadon ware was another brilliant achievement in the history of Chinese ceramics. In the Han Dynasty, the use of Long(dragon) kiln and the emergence of high-temperature glaze ceramic are most typical. Dragon kiln is the kiln whose roof is closed, the kiln body inclined, the lowest section for the fire chamber, the highest end as a smoke vent, because the kiln body built on the mountain, like a dragon coiled from top to bottom in the mountainside, so named dragon kiln. （Yang Xiao 2020, 44）
Dragon kiln temperature changes quickly, so it can be used to do rapid firing. After solving the problem of raw materials, people can fire more than 1200 degrees Celsius high-temperature glaze porcelain through the dragon kiln. The surfaces of ceramics produced in the Han dynasty usually together decorated by flowing clouds and vivid birds and animals. The decorations are full but not chaotic, and the decorative patterns represent the unique style of the Han dynasty, making ceramics look rustic not dull, such a decorative style has a lot to do with the Han dynasty's strong state power and open cultural mentality.（Hong Lin 2018, 11）
Although the period of the Northern and Southern Dynasties is a more turbulent period in anicent China’s society, but the ethnic groups are living in groups, so they can communicate with each other, achieving ethnic integration, and promoting the development of agriculture and handicrafts around the country to varying degrees. Because from the end of the Eastern Han Dynasty, China appeared last 400 years of division situation, resulting in the decline of handicrafts, especially ceramic handicrafts in a long-term standstill. During the Northern Dynasty, the greatest achievement was the emergence of white porcelain. The emergence of celadon and white porcelain paly a significant role in the appearances of porcelain of the Song Dynasty and the "five famous kilns". White porcelain is based on the development of celadon, the main difference is that the raw materials of white porcelain contain lower content of iron than that of celadon.（Jia Binqiang 2017, 25）This shows that at that time there was an understanding of metal coloring agent, which is a major breakthrough in the history of porcelain in China, laying a foundation for the development of color porcelain later. There are several outstanding decorative features during this period: pile molding, piercing techniques, lotus decoration, etc., all of which show the prosperity of ceramic craftsmanship and decoration in this period.
======The Tang Dynasty======
The Tang Dynasty is more powerful and all the people begin to communicate and exchange more frequently. Compared with the ceramics of the Han Dynasty, the ceramics of the Tang Dynasty are more refined. The " Tang Tri-Color Glazed Ceramics " of the Tang Dynasty is also the most well-known ceramics nowadays, but the Tang Tri-color glazed ceramics is not porcelain but pottery. The word " Tri-color " means colorful, including green, yellow, brown, ochre, red, white, blue, black and other colors. Tri-color glazed pottery is made of white clay, glazed with low-temperature glaze containing lead and using iron, copper, manganese, cobalt and other metals as coloring agents, and baked at a low temperature of 750-850 degrees Celsius. This period the surfaces decoration of ceramics began to focus on humanistic pursuits and life spirit, and the ceramic artisans liked to use plants that are closely related to life to decorate ceramics, such as lotus, linden, peony, etc.. Since the travel of Zhang Qian to the West during the reign of Emperor Wu of the Western Han Dynasty, Buddhist ideas have been introduced to the Central Plains and have had a great impact on Chinese history and even modern social development. （Shao Yu 2022, 89）
The elements mentioned above as the decorative patterns of the wares are the usual elements used by Buddhists. During the Tang Dynasty, along with the increasingly frequent cultural exchanges between China and foreign countries, camels gradually became a favorite subject for artisans and craftsmen, and this preference can be reflected in the production of the Tang Tri-color glazed ceramics, which is the best proof of the cultural openness during the Tang Dynasty. In addition, most of the porcelains of the Tang Dynasty were full and round, which indirectly reflected the aesthetic characteristics of the Tang Dynasty with fat as the beauty. This colorful and splendid artistic expression of the Tang Tri-color glazed ceramics can be seen that the Tang Dynasty had a strong power, advanced economy and frequent foreign exchanges at that time (Sun Jingyi 2016, 31). The fact that ceramics of the Tang Dynasty could develop to such a high level is inseparable from its strong national power. In general, from the Northern Dynasty to the Tang Dynasty, the domestic porcelain production pattern of "Southern Celadon and Northern White porcelain" was formed, with the South mainly producing celadon, which was light and delicate, and the North mainly producing white porcelain, which was solid and fair.
======The Song Dynasty======
The Song Dynasty is the peak of ceramic development, with a rich variety of products. The famous "Five Famous Kilns", namely the Ru, Jun, Ge, Guan and Ding kilns, each had its own characteristics, and the Ru, Jun and Guan kilns are successively monopolized or designated by the royal family to fire imperial porcelain. The Ru kiln originated in the area of Ruzhou and Baofeng. Ru kilns are mainly cyan in color, mostly for civilian life porcelain. In the late Northern Song Dynasty, the government monopolized the Ru kiln which was originally engaged in the production of printed celadon for the civic as the official kiln, exclusively for the palace firing imperial goods. Therefore, the Ru kiln consists of two parts: one is official Ru kiln, dedicated to the court to burn imperial porcelain, the other part is for the common people to burn porcelain to meet the needs of the people at the time. The glaze of Ru porcelain is warm and moist, deeply loved by the emperor of the Song Dynasty. The emergence of the Ru kiln unveiled a new stage of ancient celadon techniques in China, changing the previous statement of "southern celadon and northern white porcelain". （Jia Binqiang 2017, 26）
Jun Kiln, the site of which is located near Juntai and Bagua-dong in the north of Yuzhou City at present, is named for its proximity to Juntai. During the Huizong period of the Northern Song Dynasty, it was designated as an imperial treasure. The glaze colors presented by Jun porcelain can be roughly divided into: rose purple, begonia red, eggplant purple, etc. Jun porcelain has an important place in the history of the development of science, technology and art of ceramic craftsmanship in China. The fine "opening pieces" of the Ge and Guan kilns have brought ceramic aesthetics to a new level. The white porcelain of Ding kiln is rich in decorative techniques, and the layout of the decoration is rigorous and well-defined.
The main achievement of porcelain production process in the Song dynasty was improved the quality of porcelain, reaching a high level of no one before or since, with a rich variety of shapes. It also applied the scraping and scratching and other techniques, enriching the decorations of Song porcelain. During the Song dynasty, Jingdezhen fired, in addition to, high-quality Yingqing (misty blue) porcelain. The misty blue decorative patterns are clear and vivid, creating an elegant and fresh appearance, with a sense of refined artistic style.
======The Yuan, Ming and Qing Dynasties======
The Yuan Dynasty was a period when China was ruled by the grassland people, and a large number of grassland people entered the Central Plains during this period. The Yuan Dynasty inherited the pinnacle of ceramics from the Song Dynasty and gave birth to a richer variety of ceramic wares, such as the familiar blue and white porcelain and blue-glazed porcelain. The craftsmanship of this period is characterized by heavy body, not fine enough texture, thick glaze, and most of the wares the Yuan Dynasty are large porcelains, which also reflects the Yuan Dynasty people's rugged and unrestrained characteristics.（Sun Jingyi 2016, 31）
The Ming Dynasty’s porcelain painting skills are neat and delicate, with concise patterns, decorated by birds and flowers. Figures, moutains and lakes, and a variety of animal subjects emerged in large numbers, with a strong artistic impact. The Ming Dynasty’s craftsmanship attached great importance in practical, as well as elegant technical characteristics. Compared with the Tang and Song dynasties, the Ming Dynasty period is not focused on the use of engraving, scratching, stamping methods, but mainly with painted flowers, to maintain the glossy surface of the glaze, presenting a plain and bright style, reflecting the subtle characteristics of people in the Ming Dynasty.（Hong Lin 2018，12）During this period, it also absorbed foreign ceramic firing techniques, thus making the emergence of distinctive enamel wares.
During the Qing Dynasty, ceramics made great progress in both modeling and decorative techniques, and the creation of famille rose porcelain in Jingdezhen was influenced by enameling. The low firing temperature of famille rose porcelain also took use of the rendering painting method of Chinese painting, making the ceramic floral surface pink and soft. The brightly colored famille rose porcelain produced in the Qing Dynasty reflects the great enthusiasm of the people in this period.

===The spread of ceramic culture===
Times are changing, and history is developing, while ceramics has lasted for thousands of years and has not decayed, which also shows that ceramic culture has a profound connotation, and its cultural charm is worth passing on and carrying forward from generation to generation. Cultural confidence is the endogenous force of cultural heritage and development. Traditional ceramic culture requires continuous innovation and development in order to maintain vitality, the closeness will only accelerate the decline and even extinction. (Wang Fang 2017, 164) In order for the country to have a comprehensive development, economic development and cultural development need to be kept in harmony and balanced. In the current era of such rapid development, especially in the current Internet era, the network makes the communication between different cultures more convenient and faster, and the propaganda is also unmatched by traditional media, like the short video shared Li Ziqi about her residential life on several platforms before, which attracted the love of domestic and foreign audiences, and the content shared in her video is of some significance to the spread of Chinese culture. In addition to that, ceramics foreign trade will be easier than other ways for spreading ceramic culutre, because commodity trading is a more frequent activity between countries. Therefore, in this high-tech era, we have to use modern technology to make ceramic culture continue to flourish, to let more people know about it through more understandable ways, such as movies, documentaries, etc., to experience the beauty of ceramic crafts, to export more elegant and exquisite ceramic products, and to let more people experience and marvel at the greatness of Chinese ceramic culture.
======The role of film in the dissemination of ceramic culture======
Film and television media, as the propaganda carrier, depend on television, film and network and otthers for information dissemination.（Li Chunning 2011, 70）Film and television media can give people visually watch and enjoy the contents showed in them, so that people can feel intimate, vivid images. With vivid content displayed in front of audience, they are easy to be accepted and recognized by the audience. The film "China Flower" and "A Porcelain Vase " exemplify the perfect combination of film and ceramic culture.
The story of " China Flower" is very small, mainly talking about a pair of blue and white porcelain bottles, but although this pair of bottles is ordinary on the surface, its life's glory and humiliation is closely related to the ups and downs of Chinese history.（Zhang Wenjing 2020, 16）The story unfolds in three parallel times, connecting the three pairs of main characters by the blue and white porcelain bottles as the pivot to start its the narration. Although the story unfolds with the blue and white porcelain bottles, it is not limited to the description of the bottles, but also tells the story of the loyal love between two people, national sentiment and even national honor. The pair of blue and white porcelain carries the unrepentant vow between kiln maker of the Yuan Dynasty and his wife, and carries the fearlessness of scholars returning from foreign countries for study in the late Qing Dynasty in the face of the waning dynasty's helplessness and dedicating to defend the interests of the nation, presenting the sacrifices made by patriots in that era to preserve the country's cultural relics. The zeal of our forefathers is not only to save the bottles, and to defend the backbone and fortitude of the Chinese nation, but also displays their eagerness for a bright future of this nation. Although the film does not show a lot of footage about the manufacturing of ceramics, but intersperses with a lot of authentic ceramic knowledge, such as the film in the choice of different porcelain in different scenes, which are very good to promote the ceramic culture.
The film " A Porcelain Vase ", shot in 1979, has distinctive features of that era, and the most striking of which is the ceramic elements. The film begins by telling the audience a poignant legend related to Ji Hong(sacrificial red, intepreted literally), a kind of porcelain, which also sets a tragic tone for the whole story. Sacrificial red is not gaudy, red with a slight purple, no cracked texture in the glaze, is the treasures in color glaze porcelain.（Zhang Wenjing 2020, 17）
The story of the film " A Porcelain Vase " happened in the Ming Dynasty. The emperor asked Jingdezhen porcelain workers to fire the porcelain within 3 days, or all workers would be beheaded, which was obviously a great challenge for the craftsmanship at the time. When everyone was desperate, Linglong, the daughter of an old worker, jumped into the kiln and sacrificed herself to create thel red porcelian vase. There are several versions of this legend about the sacrificial red, but the one in this film is the most widely circulated. Some versions call this red glaze "beauty drunk"(美人醉), but the general content is the same. Ceramic folk tales, although most of them are fictional, some of them also add a certain mythological color, but they all express the good wish of ancient working people and porcelain workers. It is their pursuit of ideal and faith under the historical conditions at that time. At the same time, it also reflects the spirit of struggle of the people at that time to defy hardship, tenacity and unyielding, not afraid of sacrifice.（Wang Lun 2021, 45）
Many of the more professional traditional culture is difficult to carry forward and spread out, because its professionalism is too strong, away from people's daily lives, so it is difficult for people to resonate. And ceramic culture is a regional culture, requiring a high degree of professionalism, a lot of professional background knowledge and skills, which can not be easily get obtained by the ordinary people. But the film can lead people together to appreciate the shape, color and historical connotations of Chinese ceramics This is an aesthetic activity that the public can participate in, which is also the advantage of film and television in the dissemination of ceramic culture.
======Cross-border trade for the dissemination of ceramic culture======
In a sense, artifacts are much easier to spread across national borders than culture.（Chen Shali 2020, 181）Chinese ceramic has tri-status in society, that is, at the intersection of daily life, commerce and art, and is both a practical object, a commodity, and a work of art and a collection, closely related to social behavior, long-distance trade and upper-class taste, providing the world with a unique perspective on world history. Whether for political purposes or commercial interests, trade has become an important vehicle for Chinese cultural exports, and each ceramic object exported to the outside world carries the ideas and emotions that Chinese culture seeks to express. According to statistics, China ranks first in the world in terms of the value of ceramic production and export each year, with daily-use ceramics accounting for about 70%, artistic porcelain for 65%, and architectural porcelain for 50%.（Wang Fang 2017, 165）
The famous Italian traveler Mark Polo appreciated Dehua porcelain in his travelogue: "The porcelain are plentiful and beautiful!", and after he returned to his country, the Dehua porcelain was brought back to be treasured in St. Mark's Cathedral in Venice, which was known to the world as "Marco Polo porcelain" and became the first piece of Chinese porcelain arrived in Europe in the written record.
Another high point in the spread of Chinese ceramic culture in Europe came during Zheng He's voyage to the West during the Ming Dynasty, when large quantities of fine Chinese porcelain entered the European public's view and the message of Chinese culture it carried was widely disseminated. （Tan lijun 2020, 80）On their return voyage, the fleet also carried a large number of foreign goods, including the important pigment for blue and white porcelain, smalt, which was produced in West Asia. The vigorous development of Sino-foreign trade and commerce greatly promoted the circulation of Chinese ceramics around the world and the extraterritorial spread of Chinese culture. It is probably not unfamiliar for the people about the blue and white porcelain, which has been the leading porcelain type in China for more than a century. But the blue and white porcelain is not a completely local product, but the result of the collision between Chinese culture and Islamic culture. The Chinese do not have the national psychological tendency of white and blue, but the merchants in the Persian region of West Asia know that China's Jingdezhen can produce high-quality white porcelain, and they love blue.With the combination of the smalt of Persian region and Jingdezhen quality white porcelain, porcelain decoration in addition to the traditional landscape, figures, flowers and birds, etc., but also adds the decorative patterns with Islamic cultural characteristics, thus creating the world-renowned blue and white porcelain.
Chinese ceramics influenced by the outside cultures, but while Chinese ceramics in the sale to Europe, it also cast influences on the outside world, such as the 18th century Rococo art, an European art style, characterized by flamboyance, elegance, and Chinese blue and white porcelain is rich in rustic, fantasy and elegant features, these characteristics just in line with the European aesthetic orientation during the "Rococo art" period. This influence can be bluntly said to be the product of the borrowing and integration of Western and Chinese culture and art.（Hong Lin 2018, 19）This reflects the two-way influence of cultural transmission, that is, Chinese ceramic culture in the process of spreading will accept the influence of the outside world, and in turn it will also have a certain influence on the outside world.

===Conclusion===
===References===

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

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[9] 吴岩.论科幻小说的概念[J].昆明师范高等专科学校学报,2004(01):5-9.

[10] 吴赟,何敏.《三体》在美国的译介之旅:语境、主体与策略[J].外国语(上海外国语大学学报),2019,42(01):94-102.

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Transmission of Contemporary Chinese Literature in English-speaking Countries: A Case Study of ''Red Sorghum'''''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===
In the globalization pattern of cultural pluralism and coexistence, it is the top priority of cultural construction and reform to enhance the global influence of Chinese culture and spread and promote Chinese culture to the world. It is our goal to promote Chinese culture to go global, and the translation of Chinese literature into foreign languages is an important means to achieve this goal. However, this process is not always smooth, and as the process of "going global" in China is hindered, people gradually realize that many factors other than the act of translation are affecting the "going global" of Chinese culture.

Mo Yan is a leading figure in contemporary Chinese literature, and after winning the Nobel Prize for Literature, the attention and sales of his works abroad have increased dramatically. At a time when translations of Chinese contemporary literature have repeatedly suffered setbacks, the successful translation of Mo Yan's novels has sounded the trumpet of victory. This paper analyzes the importance, current situation and reasons for the "going global" of contemporary literature with reference to Andre Lefevere's theory of "three elements" (patronage, ideology and poetics), and studies the successful translation of Mo Yan's masterpiece ''Red Sorghum'' overseas. The study of the successful translation of ''Red Sorghum'' overseas, and the exploration of the effective translation mode of contemporary literature in China, are hoping to contribute to Chinese contemporary literature's going global.

===Key words===
contemporary Chinese literature; transmission; ''Red Sorghum''

===Introduction===
With the further development of globalization, it is no longer a pure economic phenomenon. What accompanies economic globalization is political globalization and the exchange, collision and integration of "soft power" with cultural ideas, ideologies and values as its basic connotation across national borders. Culture is an important symbol of a country's soft power and plays an increasingly prominent role in the competition for comprehensive national power. The globalization of cultural communication has become a social reality that cannot be ignored. (Xu Wen 2013: 96) Different countries, nationalities and cultures want to communicate with each other, so that cultural communication can break through the original national boundaries and geographical restrictions, and eventually get out of the narrow and prejudiced national culture and gain recognition in the global scope.

The "going global" of Chinese culture has been elevated to a national strategic level, and the translation of contemporary Chinese literature, as an important carrier of culture, has assumed the primary task. However, it must be admitted that Chinese literature in general is still in a marginal position in the field of world literature. From the overall situation of translation and dissemination of Chinese contemporary literature, the problems of poor quality of translation, few number of publications, and low overseas acceptance are very prominent. According to statistics, during the nearly 110 years from the beginning of 1900s to the beginning of 2000s, China translated and introduced about 100,000 Western books, while the West introduced less than 500 Chinese books. In recent years, China has introduced about 150 American books in a year, while the United States has imported less than 10 Chinese literary works. (Bao Xiaoying 2015: 80) There is an obvious imbalance between the export and import of literature. Thus, it is clear that there is a long way to go for Chinese contemporary literature to "go global".

On October 11, 2012, Mo Yan was awarded the Nobel Prize in Literature, becoming the first Chinese writer to win the Nobel Prize in Literature. Since then, the popularity of contemporary Chinese literature in the world literary scene has increased dramatically, more readers from abroad have begun to pay attention to the works of contemporary Chinese writers, and the attention of overseas academic circles has also begun to focus on Chinese literature. This has offered a good opportunity for Chinese contemporary literature to go global, and also put forward new ideas for the study of translation and dissemination of Chinese contemporary literature overseas.

Since 1988, Mo Yan’s works have been translated into English, French, Spanish, German, Swedish, Russian, Japanese and other languages. As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. At the same time, as the first novel to be translated overseas and immediately gain acclaim and access to Western commercial channels, ''Red Sorghum'' has set a model for the translation and transmission of contemporary Chinese literature.

This paper takes Howard Goldblatt's translation of ''Red Sorghum'' as a case study to examine the overseas transmission and acceptance of this translation on the basis of previous studies, so as to provide some inspiration for the transmission of contemporary Chinese literature. Due to the limitations of language, this paper will only talk about the translation and transmission of contemporary Chinese literature in English-speaking countries.

===The Importance of Contemporary Chinese Literature Going Global===
Culture has always been an important factor affecting national competitiveness. All major countries in the world have made the improvement of their culture an important national development strategy. Every country, nation and culture wants to exchange with each other, so that their culture can break through the original national boundaries and geographical restrictions and achieve a wider and deeper dissemination. At present, "Chinese literature going global" is flourishing, and the translation of Chinese literature has become an important part of spreading Chinese culture (Bao Xiaoying 2013: 62). Since the 21st century, China has devoted itself to the translation and interpretation of Chinese literature, and has launched a series of publication projects on the translation and dissemination of Chinese literature. At the same time, many journals of Chinese literature in English translation have been established to promote contemporary Chinese literature to the English-speaking world (Yu Hong 2021: 112).

Culture is an important symbol of a country's "soft power" and a symbol of its influence and cohesion. Culture as a soft power plays an increasingly prominent role in the competition for comprehensive national power. Culture has always been an important factor in national competitiveness. Having a strong "cultural soft power" means being able to win the initiative in the fierce international competition. Without cultural soft power, a country has no connotation, no support, and cannot become a real major country.

The strategy of "going global" of Chinese culture was first proposed in the mid-1990s. The "going global" strategy is a major initiative in the new stage of opening up to the outside world. Since then, the "going global" strategy has been expanded from the economic field to the cultural field, and relevant documents have been issued one after another.

Chinese culture "going global" has two basic meanings: First, it is the dissemination of Chinese cultural ideas and cultural forms to the world through cultural exchange. Second, it refers to the export of cultural products and services in international trade (Xiao Yingying 2012: 84). Compared with developed countries in the West, China has a serious "cognitive deficit" in cultural trade, from ideas, cultural symbols to cultural products, and many countries still have a fragmented, one-sided and superficial understanding of Chinese culture. China's economy is growing, but it is still in a weak position in terms of cultural soft power, such as cultural communication and influence, and cultural weakness, which can only be solved by developing cultural industries and communicating with other cultures (Bao Xiaoying 2014: 7).

Communication is the nature of culture, through which different cultures can be perceived. In today's globalization, cross-cultural communication affects people's thought and behavior from different aspects. Translation has always played a very important role in the process of intercultural communication. Translation is not only the conversion of language, but also the transmission of culture. Translation can spread new ideas, new concepts and new technologies, promote cultural exchange and progress, as well as promoting the common development of different cultures. Throughout the history of Chinese and foreign cultures, it is evident that translation has played a great role in spreading cultures in the world. Translation has greatly enriched the exchange and dissemination of Chinese and foreign ideas.

Above all, translation bridges the language barrier between different cultural societies, contributes to the exchange and interaction of cultural information with other countries, facilitates the common development of national cultures, and promotes the sharing of human civilization. "The development within a country and the establishment of its international status depend largely on cultural soft power, and cultural soft power, whether imported or exported, is, in our opinion, first and foremost a translation issue." (Xu Jun 2012: 12) The current strategy of "going global" of Chinese culture advocated by the Chinese government is, in a small way, to export our "cultural soft power" through the power of "translation", and in a larger way, to enhance China's "international status" (Hu Anjiang 2012: 56).

The translation, publication and dissemination of Chinese literature have become an important part of China's cultural outreach. The world needs to observe China through Chinese literature, and China needs to show its true image through literature. Without the role of translation as a medium and without the outreach of translated texts, the outreach of Chinese culture will only be empty talk. It has always been the goal of the country to promote the "going global" of Chinese culture through the translation of Chinese classics (Bao Xiaoying 2013: 54).

===Transmission of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present) (Wan Yu 2021: 220).

In the first stage, China had fewer exchanges with English-speaking countries due to political-ideological conflicts. As a result, relatively few foreign-led publications of contemporary Chinese literature were published during this phase. In the first stage, contemporary Chinese literature translated to English-speaking countries focused more on social and political aspects than on literary aspects.

In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. Compared with the first stage, except for the selection of materials that glorified the revolution and took the working and peasant classes as the main characters in the early period of the founding of the PRC, the domestic publishing institutions were more strict about the themes of translated works during the Cultural Revolution. During this period, more works related to revolution and reflecting class struggle came to the English-speaking countries.

In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some works of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions didn't pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. Meanwhile, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak.

Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than publicity; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and markets. The English-speaking world, Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

Since Mo Yan was awarded the Nobel Prize for Literature, a large amount of Chinese literature, represented by his works, has been translated into the United States and other parts of the world. However, data show that translated works account for only 3% of the total number of publications in the United States, of which less than 1% are literary translations, indicating that the American public does not have an urgent and strong intrinsic need for foreign literature and culture (Xie Tianzhen 2019: 95).

===The Successful Transmission of ''Red Sorghum''===
'''Brief Introduction to ''Red Sorghum'''''

''Red Sorghum'' is a long novel written by Mo Yan, divided into five chapters: ''Red Sorghum'', ''Sorghum Wine'', ''Dog Ways'', ''Sorghum Funeral'', and ''Strange Death''. The five chapters were first published as novellas, of which ''Red Sorghum'' was first published in ''People’s Literature'' in 1986.

''Red Sorghum'' is a family saga of Yu Zhan-ao and Dai Fenglian(identified as Granddad and Grandma from a boy’s perspective), covering their romance, their spontaneous resistance against the Japanese invaders between 1939 and 1941. This novel is set in the fields of dense, tall, red sorghum plants in Northeast Gaomi Township, Shandong Province, China, hence the title ''Red Sorghum''. ''Red Sorghum'' is a classic work that shows the tenacity and national spirits of the Gaomi people in the Anti-Japanese war.

'''Translation and Transmission of ''Red Sorghum'''''

In 1988, Mo Yan’s work ''Dry River'' was first translated and published in Japan, and in 1999, a total of 54 foreign translations of Mo Yan’s works were published during the 11 years, focusing on three works: ''Red Sorghum'', ''Red Sorghum'' and ''The Garlic Ballads''. A total of 30 overseas publications of ''Red Sorghum'' and ''Red Sorghum'' accounted for nearly 60% of the total overseas publications of Mo Yan’s works during this period.

As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. Compared to most Chinese literary works that do not sell well overseas, the sales of ''Red Sorghum'' are more optimistic. According to scholar Bao Xiaoying’s statistics, the English version of ''Red Sorghum'' was published in 1993 and sold more than 50,000 copies in a dozen years, which is not bad sales.

A very important indicator of the reach of a Chinese work of literature in the United States is the number of U.S. libraries that collect the work. If the number of U.S. libraries collecting the work is high, it means that the work is widely distributed in the United States, and vice versa (Liu Guozhi, Chi Changhai. Li Qingliu 2022: 60).

According to the table of the top 10 ranking of the dissemination of English-translated Chinese contemporary novels published in the United States, it can be seen that the English-translated novel ''Red Sorghum'' ranks third overall among the Chinese contemporary novels published and disseminated in the United States. It can be said that ''Red Sorghum'' is the most widely distributed Chinese contemporary novel in the United States. Table 2 shows the collections of public and community libraries and libraries of universities and research institutions in different states. It also shows the ranking and distribution of the top ten states in the United States for the distribution of the novel ''Red Sorghum'' in English translation. Six of the top ten states have more than 40% of the public and community libraries collecting ''Red Sorghum'': 50% in Ohio, 49.23% in Illinois, 48.92% in California, 43.90% in Florida, 43.24% in North Carolina, and 41.27% in Texas, with Ohio accounting for half of the public and community libraries. . These data indicate that the Chinese contemporary novel ''Red Sorghum'' has entered public and community libraries in the U.S., showing that the structure of Chinese contemporary fiction distribution and readership in the U.S. is changing, shifting from its previous distribution primarily in universities and research institutions to the general public. (Two tables mentioned cannnot be uploaded)

'''The Reasons for ''Red Sorghum's'' Successful Transmission'''

The popularity of ''Red Sorghum'' overseas was made possible by many factors. The film of the same name is the pioneer. Thanks to the award-winning film, the translation and dissemination of the novel was promoted overseas. Coupled with the unique perspective and content of the work itself, and the translator Howard Goldblatt’s promotion and personalized translation, the successful transmission of this work was achieved.

'''The Literary Value of the Work Itself'''

Mo Yan, born in 1956 in Gaomi County, Shandong Province. ''Red Sorghum'' is based on the life of his hometown during the anti-Japanese war. Unlike other anti-Japanese literature, Mo Yan's anti-Japanese story is told from the perspective of ordinary people, which is more real and deeper. Mo Yan's literary works often portray original life with bold, mischievous depictions that resonate strongly with readers and shock them. In this novel, there is both questioning and rebellion against existing traditional values, as well as profound analysis of feudal ethics and human nature.

The theme of ''Red Sorghum'' is not only to promote the idea of living a bold, emancipated and frank life, but also to celebrate the patriotic spirit of the heroic resistance to Japan. The so-called "personality liberation" refers to the liberation of the "human" personality. Human being" is the unity of "spirit" and "flesh", "divinity" and "bestiality", "spirit" and "matter", "social man" and "natural man". Man has a "natural human nature", that is "human's" survival instincts and natural desires.

The novel ''Red Sorghum'' not only promotes the liberation of individuality, but also celebrates the tenacity and sacrificial spirit of anti-Japanese patriotism. This dual theme of enlightenment and salvation in literature is an inheritance of the May Fourth tradition. Both the May Fourth movement and the New Culture Movement happened at a time of increasing imperialist aggression against China and a sense of national crisis and the increasingly urgent historical requirement for national self-improvement, self-reliance and salvation.

'''The Pioneering Role of the Film ''Red Sorghum'''''

In today's era of new media, for many readers, they first come to the original work through an adaptation of the work, such as a film or television production. In other words, these readers get to know a literary work or a writer through a film or television work (Hao Dan 2019: 58). In fact, this is how foreign publishers and readers come to know Mo Yan and his ''Red Sorghum''. In 1988, the movie ''Red Sorghum'' directed by Zhang Yimou was released in Canada, the United States and other places. It is worth noting that not only the movie is adapted from Mo Yan's novel ''Red Sorghum'', but its screenwriting team also includes Mo Yan himself. In 1986, when Zhang Yimou decided to make the movie, Mo Yan only received 800 yuan in royalties and 1200 yuan in screenwriting fees. He would not have imagined that in the fifth year after the film's release (1993), the English translation of ''Red Sorghum'' would be published by Penguin Publishing in the United States, with a first printing of 10,000 copies. The number of its first printing is not large, but it is very rare for a contemporary Chinese writer in the early 1990s to have such a publishing opportunity and achievement in the United States. In addition, in 2004, when the American Arcade Press published Mo Yan's another work Big Breasts and Wide Hips, the publisher still mentioned the film ''Red Sorghum'' in the recommendation, which shows the role of the film in the dissemination of Mo Yan's novel.

It can be said that the translation and publication of the English translation of ''Red Sorghum'' is mainly based on the impressive international achievements of the film: in 1988, the film won the Golden Bear Award at the 38th Berlin International Film Festival, the Best Film Award, the Best Director Award, the True Novelty Award for feature films at the 5th Zimbabwe International Film Festival, the Film Critics Award at the 35th Sydney International Film Festival, the 1st Marseille International Film Festival in Morocco, and the Golden Bear Award for the Best Film at the 16th Brussels International Film Festival. In 1989, the film won the Best Film Award from the Radio Audience Jury at the 16th Brussels International Film Festival and the Silver Bear Award at the 5th Montreal World Film Festival in France; in 1990, the film was nominated for the annual prize of the GDR Filmmaker's Association for the ten best feature films of the annual Cuban Film Distribution Awards. Shortly after the film won the awards, Viking Penguin Press took the initiative to invite Howard Goldblatt to translate Mo Yan's ''Red Sorghum''. Of course, the translation of Mo Yan's work into English did not begin with ''Red Sorghum'', but prior to the award-winning film ''Red Sorghum'', Mo Yan's work had never been published in a single volume by a publisher in the English-speaking world.

'''Howard Goldblatt's Translation and Promotion'''

When it comes to the transmission of ''Red Sorghum'' in the English-speaking world, the contribution of its translator, Howard Goldblatt, cannot be overlooked. Howard Goldblatt is a well-known American sinologist and translator who has a high level of attainment in the study of contemporary Chinese literature, and has translated a large number of Chinese literary works. He was born in 1939 in California, USA. Later, while attending the U.S. Naval Officer's School, he was sent to serve in Taipei. While serving, Howard Goldblatt learned Chinese and read books to kill time, and gradually fell in love with Chinese culture. After studying Chinese at the National Taiwan Normal University for about a year, his Chinese language skills improved greatly. Later, he entered San Francisco State University and systematically studied Chinese language and literature. Because of his love for Chinese language and literature, He worked as a Chinese language teacher for one year after graduating with his master's degree. In order to continue to improve his Chinese language, he entered the Department of East Asian Languages at Indiana University to pursue a PhD in Chinese literature. In 1984, with his active leadership and assistance, ''Modern Chinese Literature'', a scholarly journal devoted to Chinese literature, was launched, with Howard Goldblatt as editor-in-chief, giving readers in the English-speaking world the opportunity to read Chinese literature, which contributed greatly to the promotion of Chinese literature.

As a confidant of Chinese literature, Howard Goldblatt has never stopped studying and translating Chinese literature for more than thirty years. His profound knowledge of both Chinese and English, good knowledge of Chinese literature, keen literary insight, and excellent translation skills have contributed to the achievement of Mo Yan, who was awarded the Nobel Prize for Literature, as well as to the dissemination of Chinese literature in the world and to the equal dialogue with world literature.

After Mo Yan won the Nobel Prize, almost everyone said that it was the translator Howard Goldblatt who made Mo Yan a success, and this is not an exaggeration. In terms of the text itself, there are two conditions for a work of contemporary Chinese literature to get the attention of publishers in English-speaking countries: one is a good story, and another is an authentic translation. A well-told story is a response to the cultural psychology and reading habits of the target readers. A good translation is very important in the translation of Mo Yan's works, because most of Mo Yan's novels have a unique Chinese historical background and profound Chinese traditional cultural connotation. Although he is known to the world literary world as a "storyteller", if the translator fails to translate the Chinese history and culture implied behind the Chinese language as effectively as possible into a language that can be understood by English-speaking readers, the transmission and popularity of these works will be difficult to achieve.

'''The Role of Publishing Brokers and Houses'''

For the works of Chinese writers to spread overseas, they must be supported and promoted by authoritative publishing brokers and publishing companies. The reason why Mo Yan's ''Red Sorghum'' is so popular in English-speaking countries is the support of his publishing agent team and Arcade Publishing.

Beijing Genuine&Profound Culture Media Co.,LTD.(hereinafter referred to as "Genuine&Profound") actually plays the role of a copyright agent for Mo Yan's works, responsible for developing the value of Mo Yan's works and planning the publication and distribution of Mo Yan's works. As the book publishing industry becomes more open and free, contemporary Chinese writers have had more knowledge of the publishing market, and some of them have realized the importance of publishing agents. A publishing agent, often called a copyright agent, is a middleman or intermediary that connects a work with a publisher. A publishing agent signs a copyright agency contract with a writer, and then helps the writer find a publishing platform for the work or an opportunity to exploit subsidiary rights related to the work. The services of a publishing agent are what Genuine&Profound provides for Mo Yan.

The uniqueness of Genuine&Profound lies in the fact that it has proposed the business model of "360°celebrity brokerage" for the first time in the industry. This service includes paper book publishing, digital rights management and promotion, promotion of film and television rights of literary works, brokerage of famous artists' artworks, promotion of famous artists' business and social activities, provision of artwork trading platforms, development and sales of derivatives, and legal protection of rights. With respect to Mo Yan's works, it believes that the value of Mo Yan is not only reflected in the publication and distribution of his Chinese works, but also in the overseas publication rights of paper books, film and television adaptation rights, digital publication rights, sales rights of calligraphy works and other subsidiary rights related to them.

The man behind Arcade Publishing, which has published five titles of Mo Yan's works in English translation, is in fact Richard Seaver, Mo Yan's most important advisor in the American publishing world. Arcade Publishing was established by Richard Seaver in 1988 to publish fiction and non-fiction literature. After Richard's death in 2009, Arcade went bankrupt and was acquired by Pegasus Publishing in July of the following year, and relaunched in 2011 under the name Pegasus, with its main focus remaining the same and the addition of some art books (Hao Dan 2019: 59). Today, Arcade Publishing has published nearly 300 authors from over 30 countries. Arcade Publishing has always been a great admirer of Mo Yan's works, and the front page of Arcade's official website has for quite some time read: Arcade and Skyhorse congratulate Mo Yan on winning the 2012 Nobel Prize for Literature". Unfortunately, Richard passed away without waiting for Mo Yan to win the Nobel Prize, but his remarkable vision and solidity as a publisher have made him immortal.

===Conclusion===
Literary works that "go global" should have both universal and heterogeneous qualities in themselves. Universality can resonate with overseas authors, while the unique local characteristics of the works excite readers' interest (Zhang Lijun, Yu Huijun 2021: 92).

Another important factor in the success of Mo Yan's overseas distribution was mentioned earlier: the overseas influence of Zhang Yimou's film. The huge market for films often plays an excellent role in advertising and rapidly promotes the translation and publication of original literary works overseas. The spread and influence of contemporary Chinese literature and Chinese films overseas actually help each other. On the one hand, this shows that outstanding literary scripts are an important basis for the success of films; on the other hand, it also shows that successful film operations will produce a chain effect that can lead to a series of related cultural industries.

In addition, in the process of Chinese literature going global the selection of translation subjects is crucial. Local translators in China do not know enough about the reading habits of Western readers and lack in-depth research on the literary publishing market, so the dissemination of works translated by them is inevitably hindered abroad. In contrast, foreign sinologists have the unique advantage of being the ideal translators for Chinese literature to go global. Local Chinese translators are more likely to perceive Chinese characteristics and outstanding literary works, while the group of sinologists has a deeper understanding of the target language readership and dissemination. The advantages of both complement each other, thus promoting Chinese literature to go out better.

In addition, nowadays, in the context of globalization, it is also very important to establish a good relationship with foreign well-known publishing institutions. ''Red Sorghum'' was released by a well-known foreign publisher, so that it could be more widely known by its target readers. The most important thing is that major publishers can get a good understanding of the market, which is conducive to the dissemination of Chinese literature in the West.

The experience of the successful dissemination of ''Red Sorghum'' shows that for contemporary Chinese literature to go global, not only is there a requirement for the quality and cultural value of the work itself, but there is also a need for reliable translators and authoritative publishing partners.

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===Terms and expressions===
《红高粱家族》 ''Red Sorghum''

诺贝尔文学奖 the Nobel Prize for Literature

安德烈·勒菲弗尔Andre Lefevere

三要素理论 "three elements" (patronage, ideology and poetics)

葛浩文 Howard Goldblatt

文革 the Cultural Revolution

《枯河》 ''Dry River''

《天堂蒜薹之歌》 ''The Garlic Ballads''

企鹅出版公司 Penguin Publishing

《丰乳肥臀》 ''Big Breasts and Wide Hips''

柏林国际电影节 Berlin International Film Festival

津巴布韦国际电影节 Zimbabwe International Film Festival

悉尼国际电影节 Sidney International Film Festival

马拉什国际电影电视节 Mar del Plata Film Festival

布鲁塞尔国际电影节 Bruxelles International Film Festival

蒙彼利埃国际电影节 Montreal World Film Festival

《中国现代文学》 ''Modern Chinese Literature''

北京精典博维文化传媒有限公司 Beijing Genuine&Profound Culture Media Co.,LTD.

拱廊出版公司 Arcade Publishing

理查德·西维尔 Richard Seaver

===Questions===
1. What's the "three elements" put forward by Lefevere?

2. How many American books has China introduced in a year recently?

3. When was Mo Yan awarded the Nobel Prize in Literature?

4. Which novel is the most translated and reprinted work of Mo Yan?

5. How many stages are there in the history of contemporary Chinese literature in English-speaking countries?

6. What are the reasons for ''Red Sorghum's'' successful transmission?

===Answers===
1. Patronage, ideology and poetics.

2. About 150.

3. On October 11, 2012.

4. ''Red Sorghum''

5. Four.

6. The literary value of the work itself; the pioneering role of the film ''Red Sorghum''; Howard Goldblatt's translation and promotion; the role of publishing brokers and houses.

20220630 Culture 5

2022-07-06T14:16:55Z

Liu Shuangying: /* The development of ceramic culture in different dynasties */

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

==This is the final exam paper website no. 5==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

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

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.

Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.

Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.

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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.

Vermeer, H. Skopos Theory of Translation[M]. 1996.

Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.

Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.

Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.

Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.

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==英语笔译刘乐乐 Liu Lele 202170081584==
Chinese Online Fantasy Novels：A comparison Between Dragon Raja and Harry Potter
Liu Lele
===Abstract===
Harry Potter and Dragon Raja, two famous fantasy novels, are similar in many ways including plots, character settings and so on. Since the former is famous across the world while the latter have not been translated from Chinese into English yet, we can learn a lot sentence patterns, phrases, and words from Harry Potter when translating Dragon Raja into English.
===Key words===
Dragon Raja; translation material; communication; fantasy
===Introduction===
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.
===Similarities===
Harry Potter starts from the family of Mr. Dursley, the husband of the main character Harry Potter’s aunt, and Dragon Raja also starts from the family of Mr. Lu Gucheng, the uncle of the main character Lu Mingfei.

There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.

In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.

Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.

Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon Raja", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a loser in Dragon Raja. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.

In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.

Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.
===Differences===
As mentioned above, Harry Potter has a lot in common with Dragons, but that doesn't prevent both books from being excellent fantasy novels. Although there are many similarities between the two works at first glance, there are fundamental differences between the two works
"Harry Potter" is mainly based on the British or European wizard culture as the creation, describes an imaginary magical world. The Dragon Race, on the other hand, mainly creates a dragon world based on Nordic mythology. While Harry Potter is full of wizarding legends and English history, Dragons is based on Norse mythology, but mostly borrows from names and allusions.

Most of the stories in harry Potter take place at Hogwarts, so the rest of the books are very brief. Dragons takes place everywhere, not just at Castle College.

In both books, there are special groups with superpowers, wizards and dragon hybrids. But their lifestyles are totally different. Wizards are more isolated and do not generally interact with Muggles; Hybrids, on the other hand, are hidden in the secular world and hold impressive secular power. And when dealing with enemies, wizards can only use magic, which means that only magic can defeat magic in the Harry Potter worldview. In Dragon Race, the hybrids are very willing to use the power of technology. Science is very important in Dragon Race, and the hybrids are always looking for the combination of dragon power and science.

The ultimate villains in Harry Potter are pure-blood believers led by Lord Voldemort, but they still belong to wizards. As far as dragons are concerned, the villains are dragons. Simply put, the villains in Harry Potter are wizards, while the villains in Dragons are other races. Those who are not of our kind have different hearts. So Dragons as a whole reads more murder and hatred than Harry Potter.

Harry Potter is a fairy tale with strong religious significance in essence. There are many fairy tale elements and religious metaphors in it, and more of them are religious thinking to persuade people to be good. "Dragon Raja" is a secular novel for young people from the beginning, most of which is about the discussion of common people themselves.

In Harry Potter, because it is the essence of fairy tale, the protagonist is naturally good, while the villain is naturally evil. The definition of good and evil is very simple and crude. In The Dragon Clan, it seems that the dragon clan is the villain, but the dragon clan described in the book is not necessarily evil. The confrontation between the hybrid and the dragon clan is more for survival status than good or evil.

In fact, there are many differences between the two works. For example, Lumingfield is more close to ordinary people and easier for us to relate to, while Harry is more like imaginary characters.
===Borrowing from Similarities===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

3.1Sentence Patterns
(1)The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。
In Dragon Raja, it is the same case. So we can translate the above sentence into:
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.

(2)Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...
这也许是杜斯礼一家搞的恶作剧？
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt. So we can translate the above sentence into:
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?

3.2 Phrases
(1)A deafening shout：震耳欲聋
Both in Harry Potter and in Dragon Raja, there’s people like shouting at the main characters, so we can use this phrase to make a vivid description of it.
(2)Questions exploded inside Harry’s head like fireworks.
These two words , “Explode” and “Fireworks”, together constitutes an lively description of the scene. Lu Mingfei was loaded with questions in his head when starting to know everything about dragons, which sounds unbelievable in the real world.

(3)The rattling cart火车咔嗒响。
Both Harry Potter and Dragon Raja have their special trains lead to the schools. So when depicting the sound a train makes in its way, we can use this phrase.

3.3 Words
Since both of the two are novels, when doing translating, we can meet a lot dialogues, which means the Chinese character--”说(said)” will need various substitutions. Besides, there are many descriptions of movements and expressions. Both these words can be very tricky when doing translating. Fortunately, Harry Potter offers various translations of them.

3.3.1 Words to describe the act of speaking(说）
(1) ...Harry asked urgently.
急忙问道，急切问道。
(2) ...said the boy, with a slight sneer.
男孩冷笑道(3)...said the pale boy carelessly,
男孩面色苍白，漫不经心地说
(4) ...he began
他开始说到
(5)...asked politely
礼貌地问
(6)...asked Seamus with great interest.
饶有兴趣地问
(7)...he said coolly
他冷冷地说

3.3.2 Movements and Expressions
(1) waves merrily at him
开心地朝他招手。
(2) sneaking to the kitchen for some food
溜进厨房找东西吃
(3) collapsed into a chair
一屁股坐下
(4) made both of them jump
两个人都吓了一跳
(5) hamming on the door to wake you up.
捶门叫她起床
(6) drumming their fingers on the glass
手指在玻璃上敲击
(7)his stomach rumbling with hunger
肚子咕咕叫
(8) Harry sighed and stretched out on the bed
哈利叹了口气，在床上躺成“大”字形
===Application in translating===
大脸猫头像跳闪，“诺诺”上线。
The profile of a big-face cat flickered, which means NONO got online.
路明非犹豫了一下，“是你？”
“Is that you?”hesitated a little, Lu Mingfei asked
“嗯，陈墨瞳。”诺诺的回答显得懒洋洋的，“没事上来打两盘。”
“Yeah,it’s me, Chen Motong.”She said carelessly,”Got no better things to do than some gaming.”
“你怎么知道我的ID？”
“How did you get my ID?”
“人肉搜索啊，嘿。你居然用‘明明’这种ID，像女孩似的，还有‘夕阳的刻痕’……你是人妖么？”
“Cyber manhunt. Hey, you took Mingming as your ID. Girlish! And “sunset”,are you sure you are not a ladyboy?
“这都能人肉到？千万保密，那是我来逗我弟玩的。”
“You even knew this?! Please keep this secret for me. That’s for playing some little tricks on my cousin.”
“开玩笑的啦，诺玛搜索到的，这对诺玛小菜一碟。你星际打得不错。”
“Just joking. It’s Noma, our intelligent computer, that got all this information. It’s a piece of cake for her. By the way, you are good at Starcraft.”
“行了，我都输给你了。”
“Come on, I lost to you.”
“是我输，诺玛和我一起打的，我们两个控制一家。最后我知道你在升三级基地，因为诺玛偷偷开了地图，看见了。”
“I should be the loser. I played the game with the help of Noma.
“作弊死全家！”路明非打出这句话。
“Cheaters will have his family completely died.” Lu Mingfei type this sentence.
只是随手，这话在群里大家随便说，没谁真的往心里去。
It’s just an online phrase that were often used and no one would take it seriously.
“我家只有我一个人。”诺诺回复。
“I’ve already got no family to lose.”answered Nono.
路明非愣了一下，“对不起。”
Lu Mingfei was stunned a little, and said,”sorry.”
“这有什么对不起的？”诺诺答得很平淡，“玩一盘？”
“Nothing to feel sorry about.”Nono said carelessly still,”Want a game?”
“没心情。”
“not in the mood.”
“失恋了？”
“Broke up with your girlfriend?”
路明非浑身一个激灵，诺诺像是个小巫婆似的，看穿了他的一切，叫他完全无处容身。
“Lu Mingfei was shocked. Nono’s like a little wizard, seeing through everything of him.He could hide nothing in front of her.
“还没有……我没有女朋友，当然不会失恋了，姐姐你想怎样啊？”他输入。
“How can I break up with my girlfriend when I don’t have a one? So what do you want? Big sister!”He typed.
“姐姐叫得还蛮甜的，”诺诺扔出一个龇牙咧嘴的笑脸，“来吧，说说到底怎么回事，我也许能帮上忙。”
“That’s sweet.”Nono sent him a grinning smile,”Alright, let’s hear it.Maybe I can help you.”
“你帮什么忙？你又不认识她。”
“I doubt that.You don’t know about her.”
“我是不认识陈雯雯。”小巫婆诺诺回复得极快。
“Yeah, I do know nothing about Chen Wenwen.”
“你到底知道多少？”路明非忽地很惊恐。
“How much do you know?”Lu Mingfei suddenly got frightened.
“太多了。”
“too much.”
“你们……到底是谁？”路明非手有点抖。
“Who are you?”Typed Lu Mingfei with trembling fingers.
(1) 路明非在屏幕上无奈地打出“GG”（“GG”，指“Good Game”，在竞技类游戏中称赞对方玩得好，也是认负的意思），而后切出了游戏。屏幕上显示的最后一个场景，是十二艘人类巡洋舰以华丽的大和炮聚焦射击，把他的母巢化作了一滩血水。
Lu mingfei reluctantly typed "GG" (" GG "refers to" Good Game "in a competitive Game) on the screen before cutting out the Game. The final scene shown on the screen was twelve human cruisers firing in focus with their magnificent Yamato guns, turning his brood into a pool of blood.
(2) 他输掉了今天的第六局，胜负比例是零比六，这一次他坚持到了22分23秒才被拿下，不过最终还是被拿下了，对方的微操很好，用的又是人类，人类的机枪兵在这个游戏里是个变态的兵种，出枪速度为零，站住了拔枪就射，收枪就跑，路明非的小狗追不上，在路上就一只只被打爆了。
He lost his game for today 6-0，with round 6 hanging/lasting for 22 minutes 23 seconds. His opponent is very good at micro control, with the use of Terran whose riflemen，capable of shooting in an instant，is extremely strong in the game. stood still pull out a gun shoot, gun ran, Lu MingFei's puppy can catch up, thus getting beaten up one by one.
路明非没啃声儿，切到QQ上，那个戴棒球帽的女孩头像还是灰色的，一动不动。对方没上线，又白等了。他抓了抓脑袋，有点失望。另一个头像倒是跳了起来，是个长得很欠的熊猫。
Lu Mingfei did not answer. Switch into QQ, the profile of a girl wearing a baseball cap stayedgray and quiet there. She wasn't online, and he was just waiting for nothing. Scratching his head, he felt a little upset. The other profile was active though，a very disturbing panda.
===Conclusion===
Both Dragon Raja and Harry Potter are great fantasy novels. Dragon Raja has only been enjoyed in China, which to some extent is because it has no other versions than Chinese ones. Harry Potter has both attracting languages and similar plots with Dragon Raja, so there are things can be learned from it.
===References===
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.
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[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.

==英语笔译刘双英 Liu Shuangying 202170081585==
<center>'''The Devlopment and Dissemination of Chinese Ceramic Culture'''</center>

<center>Liu Shuangying</center>

===Abstract===
===Key words===
===Introduction===
As China's national strength continues to rise, its economy is growing rapidly, but traditional Chinese culture has not yet been well spread. China was one of the first countries to make pottery, and the birthplace of porcelain. From the current archaeological excavations, the earlist ceramics may be the porcelain products created by primitive people when they found that clay was pounded into mud and coated on a container consisting of grass and wood, and the mud would no longer dissolve in water after firing, and soon they started learning to make objects using only clay.(Guo Yue&Song Lili 2022, 31）
The ceramic culture explored in this paper has a long history, but with the development of the times, today's Chinese ceramic culture is far less flourish than in the past. At a time when the country is vigorously promoting cultural outreach and enhancing cultural confidence across the board, it is especially important to reinvigorate ceramic culture and strengthen the development and dissemination of Chinese ceramic culture. People from other countries in the world do not yet know much about traditional Chinese culture, especially in some specialized fields, such as the pottery-making techniques in ceramic culture, and sometimes the knowledge and terminology in these fields are not well understood by our own Chinese laymen as well, who only know some very basic and superficial things. Foremostly, we have to understand its intrinsic cultural connotation and unique historical value before we can plan for its way out and prepare for its revitalization. Therefore, the dissemination of these traditional cultures requires more effort, time and energy to get out of the country, catering to the strategy of "Chinese culture going out" as stated by General Secretary Xi Jinping, which is also of great practical significance to the Chinese dream of the great rejuvenation of the Chinese nation. Only when the economy and culture develop together, and the most characteristic industries of the nation are exported to the outside world, so that more people can understand its unique characteristics, can a country be truly strong and respected by the world.

===The connotation of ceramic culture===
Ceramics is a general term for pottery and porcelain, and ceramics itself is a kind of arts and crafts, as well as a folk culture, which can be seen in folk and temple in ancient times. Mr. Chen Yuqian combined the practicality and aesthetics of ceramics, the unity of science and technology and plastic art and regional factors to define ceramic culture: the essence of ceramic culture actually refers to the various types of cultural connotations embodied in the process of production to display and sale of ceramics.（Hong Lin 2018, 07）Traditional ceramic culture, commonly speaking, is the way of inheritance preserved by the ancestors of the Chinese nation in the production of ceramics, making objects. It is the evolution of ancient Chinese traditional thought, with local folk customs as the core, reflecting the aesthetic ideas of the people, the pleasure of life and the laws of formal beauty at that time.（Wang Fang 2017, 163）
In the light of the above opinions, I believe that ceramic culture includes not only the crafts of making various kinds of fine ceramics, but also the various ideas incorporated into porcelain by ancient working people when making ceramics. From the very beginning, ceramics were only designed for daily use, but later on, various carving techniques were developed, colors were enriched, painting and calligraphy were incorporated into ceramics, and so on, making ceramics more and more exquisite. And in different periods, ceramics show different appearance, and people's preferences for thier appearances and colors, for each stage of the unique image reflects the social landscape of the period, reflecting the rich historical stories behind the characteristics of the historical form of special periods, such as the famous ceramics of different historical periods, such as the Tang Dynasty’s "Tang Tri-Color Glazed Ceramics", the rich colors of the ceramics had changed the style of plain porcelain in the past, reflecting the openness and inclusiveness of the Tang Dynasty to a certain extent. There are many other famous ceramics of other dynasties that reflect the special connotation of the times and the temperament of the people. This is the ceramic culture hidden deeply in the ceramics, which is worthy of our study and learning, and should be vigorously inherited and developed, which is what our country has been advocating that we should stay true to cultural confidence, requiring the Chinese people to adhere to the excellent Chinese traditional culture and faith. It’s the pride of the advanced culture of socialism with Chinese characteristics. Ceramic culture is also something that should be spread vigorously in the new era, so that we can let more people obtain more specific information about China and enhance its the international status.

===The development of ceramic culture in different dynasties===
Ceramic culture has been an important part of Chinese more than 5,000 years culture, and ceramics have been produced for thousands of years since the ancient times.（Shao Changzong 2022, 01）Ceramic culture began in the Neolithic period, and each historical period has shown different characteristics. During the Tang Dynasty, there is the famous " Tang Tri-Color Glazed Ceramics " ceramic culture, which reflects the characteristics of the pottery skills of the Tang Dynasty. During the Yuan Dynasty, there is the famous "Jingdezhen blue and white porcelian" ceramic culture, and many people know about Chinese ceramics because of the blue and white porcelian. Black pottery, colored pottery, etc., all reflect the characteristics of unique aesthetic skills. Just like our modern life, the things that are popular in different periods will be different, which to a certain extent can also reflect the current social customs and mainstream thinking, so the different types and colors of ceramics presented in different historical periods reflect the ceramic culture, but also reflect the thinking of the people in the society at that time.
======Neolithic Period======
The ancestors living in mainland China during the Neolithic period had already learned to fire pottery for daily use, and some data even show that early wine vessels had already appeared.（Yang Xiao 2020, 43）
The distribution and phasing of Neolithic ceramics in China are often divided according to two major basins: the Yellow River basin is divided into Yangshao culture, Majiayao culture, Qijia culture, Dawenkou culture, Longshan culture and other small branches according to the historical development, and the Yangtze River basin can be divided into Daxi culture, Qujialing culture, Hemudu culture, Majiabin culture, Songze culture and Liangzhu culture. Neolithic pottery is mostly decorated with geometric patterns and red and black colors, which indicates that people have mastered the theory of red and black color change of hematite. According to the information found, the following is a brief introduction to the pottery of the Yangshao and Longshan culture periods.
The Yangshao culture period is dominated by sandy red pottery, brown pottery and clay red pottery, with less gray and black pottery. Color pottery is the most representative kind of pottery in Yangshao culture. Shaoyang culture early pottery production method is mainly done by hand, to the middle and late stages "rotating method" slowly appeared. The surface of the pottery is mainly plain and polished, and the decorations have rope pattern, scratch pattern and so on. Pottery is mainly used for daily life, such as food and drinking utensils. Long Shan culture pottery is dominated by sandy gray and black pottery and clay gray and black pottery, black pottery, brown pottery and red pottery second. During this period, the rotating method has been quite common, hand-made and coil method is still seen in use. The surface text of the ware is mainly rope pattern, chevron pattern, etc., and the types of pottery are also more abundant than during the Yangshao culture.
======Xia, Shang and Zhou Periods======
Xia Shang Zhou pottery is the pottery in the bronze age, so the appearance of the pottery in this period mostly imitate the bronze’s. Early pottery-burning kilns appeared in the Xia Dynasty are similar in appearance to the dome kilns in the north. Although the Shang Dynasty did not stand out in the quality of ceramics, but was the first one created the earliest "glaze", which is applied to the pottery, playing a beautiful and clean role, in addition to slowing down the speed of water seepage of pottery, laying the foundation for the emergence of porcelain. Chinese working people mastered the art of glazing on pottery and invented the real sense of porcelain. Compared with the previous pottery, porcelain is solid and durable, with smooth and beautiful body. The emergence of porcelain techniques is a great progress in the history of the world’s porcelain.（Wang Lun 2021, 44）The primitive porcelain made in the Shang Dynasty, also known as glazed porcelain, with features of bright glaze, bright colors, high hardness, and low water absorption.（Jia Binqiang 2017, 24）
The primitive porcelain of the Shang dynasty is made of kaolin clay, firing above 1200 degrees Celsius, whose color of the clay body is mostly off-white, and the glaze is even and bright, emboding a charming color. These characteristics are basically similar to the conditions that porcelain should have. However, its clay body material is not fine enough, and what’s worse, there is a certain degree of water absorption, no light transmission, poor combination of clay and glaze, and easy to flake.
======The Qin, Han and North-South Dynasties======
The Qin Dynasty saw the emergence of large terracotta figurines, and the most famous of which is what we know today the life-size terra-cotta soliders ans horses in Chin tomb. They are very realistic and tall, and very delicate, which shows that the pottery making technique in China reached a very high level in the Qin Dynasty. During the two Han dynasties, pottery was still dominated by gray pottery, with a variety of shapes, and in addition to living pottery, there were also burial ware and architectural pottery. Most notably, in the Eastern Han Dynasty, the successful firing of celadon ware was another brilliant achievement in the history of Chinese ceramics. In the Han Dynasty, the use of Long(dragon) kiln and the emergence of high-temperature glaze ceramic are most typical. Dragon kiln is the kiln whose roof is closed, the kiln body inclined, the lowest section for the fire chamber, the highest end as a smoke vent, because the kiln body built on the mountain, like a dragon coiled from top to bottom in the mountainside, so named dragon kiln. （Yang Xiao 2020, 44）
Dragon kiln temperature changes quickly, so it can be used to do rapid firing. After solving the problem of raw materials, people can fire more than 1200 degrees Celsius high-temperature glaze porcelain through the dragon kiln. The surfaces of ceramics produced in the Han dynasty usually together decorated by flowing clouds and vivid birds and animals. The decorations are full but not chaotic, and the decorative patterns represent the unique style of the Han dynasty, making ceramics look rustic not dull, such a decorative style has a lot to do with the Han dynasty's strong state power and open cultural mentality.（Hong Lin 2018, 11）
Although the period of the Northern and Southern Dynasties is a more turbulent period in anicent China’s society, but the ethnic groups are living in groups, so they can communicate with each other, achieving ethnic integration, and promoting the development of agriculture and handicrafts around the country to varying degrees. Because from the end of the Eastern Han Dynasty, China appeared last 400 years of division situation, resulting in the decline of handicrafts, especially ceramic handicrafts in a long-term standstill. During the Northern Dynasty, the greatest achievement was the emergence of white porcelain. The emergence of celadon and white porcelain paly a significant role in the appearances of porcelain of the Song Dynasty and the "five famous kilns". White porcelain is based on the development of celadon, the main difference is that the raw materials of white porcelain contain lower content of iron than that of celadon.（Jia Binqiang 2017, 25）This shows that at that time there was an understanding of metal coloring agent, which is a major breakthrough in the history of porcelain in China, laying a foundation for the development of color porcelain later. There are several outstanding decorative features during this period: pile molding, piercing techniques, lotus decoration, etc., all of which show the prosperity of ceramic craftsmanship and decoration in this period.
======The Tang Dynasty======
The Tang Dynasty is more powerful and all the people begin to communicate and exchange more frequently. Compared with the ceramics of the Han Dynasty, the ceramics of the Tang Dynasty are more refined. The " Tang Tri-Color Glazed Ceramics " of the Tang Dynasty is also the most well-known ceramics nowadays, but the Tang Tri-color glazed ceramics is not porcelain but pottery. The word " Tri-color " means colorful, including green, yellow, brown, ochre, red, white, blue, black and other colors. Tri-color glazed pottery is made of white clay, glazed with low-temperature glaze containing lead and using iron, copper, manganese, cobalt and other metals as coloring agents, and baked at a low temperature of 750-850 degrees Celsius. This period the surfaces decoration of ceramics began to focus on humanistic pursuits and life spirit, and the ceramic artisans liked to use plants that are closely related to life to decorate ceramics, such as lotus, linden, peony, etc.. Since the travel of Zhang Qian to the West during the reign of Emperor Wu of the Western Han Dynasty, Buddhist ideas have been introduced to the Central Plains and have had a great impact on Chinese history and even modern social development. （Shao Yu 2022, 89）
The elements mentioned above as the decorative patterns of the wares are the usual elements used by Buddhists. During the Tang Dynasty, along with the increasingly frequent cultural exchanges between China and foreign countries, camels gradually became a favorite subject for artisans and craftsmen, and this preference can be reflected in the production of the Tang Tri-color glazed ceramics, which is the best proof of the cultural openness during the Tang Dynasty. In addition, most of the porcelains of the Tang Dynasty were full and round, which indirectly reflected the aesthetic characteristics of the Tang Dynasty with fat as the beauty. This colorful and splendid artistic expression of the Tang Tri-color glazed ceramics can be seen that the Tang Dynasty had a strong power, advanced economy and frequent foreign exchanges at that time (Sun Jingyi 2016, 31). The fact that ceramics of the Tang Dynasty could develop to such a high level is inseparable from its strong national power. In general, from the Northern Dynasty to the Tang Dynasty, the domestic porcelain production pattern of "Southern Celadon and Northern White porcelain" was formed, with the South mainly producing celadon, which was light and delicate, and the North mainly producing white porcelain, which was solid and fair.
======The Song Dynasty======
The Song Dynasty is the peak of ceramic development, with a rich variety of products. The famous "Five Famous Kilns", namely the Ru, Jun, Ge, Guan and Ding kilns, each had its own characteristics, and the Ru, Jun and Guan kilns are successively monopolized or designated by the royal family to fire imperial porcelain. The Ru kiln originated in the area of Ruzhou and Baofeng. Ru kilns are mainly cyan in color, mostly for civilian life porcelain. In the late Northern Song Dynasty, the government monopolized the Ru kiln which was originally engaged in the production of printed celadon for the civic as the official kiln, exclusively for the palace firing imperial goods. Therefore, the Ru kiln consists of two parts: one is official Ru kiln, dedicated to the court to burn imperial porcelain, the other part is for the common people to burn porcelain to meet the needs of the people at the time. The glaze of Ru porcelain is warm and moist, deeply loved by the emperor of the Song Dynasty. The emergence of the Ru kiln unveiled a new stage of ancient celadon techniques in China, changing the previous statement of "southern celadon and northern white porcelain". （Jia Binqiang 2017, 26）
Jun Kiln, the site of which is located near Juntai and Bagua-dong in the north of Yuzhou City at present, is named for its proximity to Juntai. During the Huizong period of the Northern Song Dynasty, it was designated as an imperial treasure. The glaze colors presented by Jun porcelain can be roughly divided into: rose purple, begonia red, eggplant purple, etc. Jun porcelain has an important place in the history of the development of science, technology and art of ceramic craftsmanship in China. The fine "opening pieces" of the Ge and Guan kilns have brought ceramic aesthetics to a new level. The white porcelain of Ding kiln is rich in decorative techniques, and the layout of the decoration is rigorous and well-defined.
The main achievement of porcelain production process in the Song dynasty was improved the quality of porcelain, reaching a high level of no one before or since, with a rich variety of shapes. It also applied the scraping and scratching and other techniques, enriching the decorations of Song porcelain. During the Song dynasty, Jingdezhen fired, in addition to, high-quality Yingqing (misty blue) porcelain. The misty blue decorative patterns are clear and vivid, creating an elegant and fresh appearance, with a sense of refined artistic style.
======The Yuan, Ming and Qing Dynasties======
The Yuan Dynasty was a period when China was ruled by the grassland people, and a large number of grassland people entered the Central Plains during this period. The Yuan Dynasty inherited the pinnacle of ceramics from the Song Dynasty and gave birth to a richer variety of ceramic wares, such as the familiar blue and white porcelain and blue-glazed porcelain. The craftsmanship of this period is characterized by heavy body, not fine enough texture, thick glaze, and most of the wares the Yuan Dynasty are large porcelains, which also reflects the Yuan Dynasty people's rugged and unrestrained characteristics.（Sun Jingyi 2016, 31）
The Ming Dynasty’s porcelain painting skills are neat and delicate, with concise patterns, decorated by birds and flowers. Figures, moutains and lakes, and a variety of animal subjects emerged in large numbers, with a strong artistic impact. The Ming Dynasty’s craftsmanship attached great importance in practical, as well as elegant technical characteristics. Compared with the Tang and Song dynasties, the Ming Dynasty period is not focused on the use of engraving, scratching, stamping methods, but mainly with painted flowers, to maintain the glossy surface of the glaze, presenting a plain and bright style, reflecting the subtle characteristics of people in the Ming Dynasty.（Hong Lin 2018，12）During this period, it also absorbed foreign ceramic firing techniques, thus making the emergence of distinctive enamel wares.
During the Qing Dynasty, ceramics made great progress in both modeling and decorative techniques, and the creation of famille rose porcelain in Jingdezhen was influenced by enameling. The low firing temperature of famille rose porcelain also took use of the rendering painting method of Chinese painting, making the ceramic floral surface pink and soft. The brightly colored famille rose porcelain produced in the Qing Dynasty reflects the great enthusiasm of the people in this period.

===Subtitle2===
===Conclusion===
===References===

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

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[2] 姜倩. 幻想与现实：二十世纪科幻小说在中国的译介[D].复旦大学,2006.

[3] 黄唯唯.《三体》的英译研究——让中国式科幻走向世界[J].湖北第二师范学院学报,2016,33(09):125-128.

[4] 孔庆东.中国科幻小说概说[J].涪陵师范学院学报,2003(03):37-45.

[5] 高茜,王晓辉.中国科幻小说英译发展述评:2000-2020年[J].中国翻译,2021,42(05):57-64+192.

[6] 梁昊文.中国当代科幻小说外译及其研究述评[J].广东外语外贸大学学报,2019,30(01):41-46+52.

[7] 徐伟彬.科幻小说翻译的科学意义[J].湖州师范学院学报,2002(05):22-25.

[8] 任冬梅.新世纪以来中国科幻小说的现状及前景[J].当代文坛,2018(03):140-145.

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[10] 吴赟,何敏.《三体》在美国的译介之旅:语境、主体与策略[J].外国语(上海外国语大学学报),2019,42(01):94-102.

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Transmission of Contemporary Chinese Literature in English-speaking Countries: A Case Study of ''Red Sorghum'''''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===
In the globalization pattern of cultural pluralism and coexistence, it is the top priority of cultural construction and reform to enhance the global influence of Chinese culture and spread and promote Chinese culture to the world. It is our goal to promote Chinese culture to go global, and the translation of Chinese literature into foreign languages is an important means to achieve this goal. However, this process is not always smooth, and as the process of "going global" in China is hindered, people gradually realize that many factors other than the act of translation are affecting the "going global" of Chinese culture.

Mo Yan is a leading figure in contemporary Chinese literature, and after winning the Nobel Prize for Literature, the attention and sales of his works abroad have increased dramatically. At a time when translations of Chinese contemporary literature have repeatedly suffered setbacks, the successful translation of Mo Yan's novels has sounded the trumpet of victory. This paper analyzes the importance, current situation and reasons for the "going global" of contemporary literature with reference to Andre Lefevere's theory of "three elements" (patronage, ideology and poetics), and studies the successful translation of Mo Yan's masterpiece ''Red Sorghum'' overseas. The study of the successful translation of ''Red Sorghum'' overseas, and the exploration of the effective translation mode of contemporary literature in China, are hoping to contribute to Chinese contemporary literature's going global.

===Key words===
contemporary Chinese literature; transmission; ''Red Sorghum''

===Introduction===
With the further development of globalization, it is no longer a pure economic phenomenon. What accompanies economic globalization is political globalization and the exchange, collision and integration of "soft power" with cultural ideas, ideologies and values as its basic connotation across national borders. Culture is an important symbol of a country's soft power and plays an increasingly prominent role in the competition for comprehensive national power. The globalization of cultural communication has become a social reality that cannot be ignored. (Xu Wen 2013: 96) Different countries, nationalities and cultures want to communicate with each other, so that cultural communication can break through the original national boundaries and geographical restrictions, and eventually get out of the narrow and prejudiced national culture and gain recognition in the global scope.

The "going global" of Chinese culture has been elevated to a national strategic level, and the translation of contemporary Chinese literature, as an important carrier of culture, has assumed the primary task. However, it must be admitted that Chinese literature in general is still in a marginal position in the field of world literature. From the overall situation of translation and dissemination of Chinese contemporary literature, the problems of poor quality of translation, few number of publications, and low overseas acceptance are very prominent. According to statistics, during the nearly 110 years from the beginning of 1900s to the beginning of 2000s, China translated and introduced about 100,000 Western books, while the West introduced less than 500 Chinese books. In recent years, China has introduced about 150 American books in a year, while the United States has imported less than 10 Chinese literary works. (Bao Xiaoying 2015: 80) There is an obvious imbalance between the export and import of literature. Thus, it is clear that there is a long way to go for Chinese contemporary literature to "go global".

On October 11, 2012, Mo Yan was awarded the Nobel Prize in Literature, becoming the first Chinese writer to win the Nobel Prize in Literature. Since then, the popularity of contemporary Chinese literature in the world literary scene has increased dramatically, more readers from abroad have begun to pay attention to the works of contemporary Chinese writers, and the attention of overseas academic circles has also begun to focus on Chinese literature. This has offered a good opportunity for Chinese contemporary literature to go global, and also put forward new ideas for the study of translation and dissemination of Chinese contemporary literature overseas.

Since 1988, Mo Yan’s works have been translated into English, French, Spanish, German, Swedish, Russian, Japanese and other languages. As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. At the same time, as the first novel to be translated overseas and immediately gain acclaim and access to Western commercial channels, ''Red Sorghum'' has set a model for the translation and transmission of contemporary Chinese literature.

This paper takes Howard Goldblatt's translation of ''Red Sorghum'' as a case study to examine the overseas transmission and acceptance of this translation on the basis of previous studies, so as to provide some inspiration for the transmission of contemporary Chinese literature. Due to the limitations of language, this paper will only talk about the translation and transmission of contemporary Chinese literature in English-speaking countries.

===The Importance of Contemporary Chinese Literature Going Global===
Culture has always been an important factor affecting national competitiveness. All major countries in the world have made the improvement of their culture an important national development strategy. Every country, nation and culture wants to exchange with each other, so that their culture can break through the original national boundaries and geographical restrictions and achieve a wider and deeper dissemination. At present, "Chinese literature going global" is flourishing, and the translation of Chinese literature has become an important part of spreading Chinese culture (Bao Xiaoying 2013: 62). Since the 21st century, China has devoted itself to the translation and interpretation of Chinese literature, and has launched a series of publication projects on the translation and dissemination of Chinese literature. At the same time, many journals of Chinese literature in English translation have been established to promote contemporary Chinese literature to the English-speaking world (Yu Hong 2021: 112).

Culture is an important symbol of a country's "soft power" and a symbol of its influence and cohesion. Culture as a soft power plays an increasingly prominent role in the competition for comprehensive national power. Culture has always been an important factor in national competitiveness. Having a strong "cultural soft power" means being able to win the initiative in the fierce international competition. Without cultural soft power, a country has no connotation, no support, and cannot become a real major country.

The strategy of "going global" of Chinese culture was first proposed in the mid-1990s. The "going global" strategy is a major initiative in the new stage of opening up to the outside world. Since then, the "going global" strategy has been expanded from the economic field to the cultural field, and relevant documents have been issued one after another.

Chinese culture "going global" has two basic meanings: First, it is the dissemination of Chinese cultural ideas and cultural forms to the world through cultural exchange. Second, it refers to the export of cultural products and services in international trade (Xiao Yingying 2012: 84). Compared with developed countries in the West, China has a serious "cognitive deficit" in cultural trade, from ideas, cultural symbols to cultural products, and many countries still have a fragmented, one-sided and superficial understanding of Chinese culture. China's economy is growing, but it is still in a weak position in terms of cultural soft power, such as cultural communication and influence, and cultural weakness, which can only be solved by developing cultural industries and communicating with other cultures (Bao Xiaoying 2014: 7).

Communication is the nature of culture, through which different cultures can be perceived. In today's globalization, cross-cultural communication affects people's thought and behavior from different aspects. Translation has always played a very important role in the process of intercultural communication. Translation is not only the conversion of language, but also the transmission of culture. Translation can spread new ideas, new concepts and new technologies, promote cultural exchange and progress, as well as promoting the common development of different cultures. Throughout the history of Chinese and foreign cultures, it is evident that translation has played a great role in spreading cultures in the world. Translation has greatly enriched the exchange and dissemination of Chinese and foreign ideas.

Above all, translation bridges the language barrier between different cultural societies, contributes to the exchange and interaction of cultural information with other countries, facilitates the common development of national cultures, and promotes the sharing of human civilization. "The development within a country and the establishment of its international status depend largely on cultural soft power, and cultural soft power, whether imported or exported, is, in our opinion, first and foremost a translation issue." (Xu Jun 2012: 12) The current strategy of "going global" of Chinese culture advocated by the Chinese government is, in a small way, to export our "cultural soft power" through the power of "translation", and in a larger way, to enhance China's "international status" (Hu Anjiang 2012: 56).

The translation, publication and dissemination of Chinese literature have become an important part of China's cultural outreach. The world needs to observe China through Chinese literature, and China needs to show its true image through literature. Without the role of translation as a medium and without the outreach of translated texts, the outreach of Chinese culture will only be empty talk. It has always been the goal of the country to promote the "going global" of Chinese culture through the translation of Chinese classics (Bao Xiaoying 2013: 54).

===Transmission of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present) (Wan Yu 2021: 220).

In the first stage, China had fewer exchanges with English-speaking countries due to political-ideological conflicts. As a result, relatively few foreign-led publications of contemporary Chinese literature were published during this phase. In the first stage, contemporary Chinese literature translated to English-speaking countries focused more on social and political aspects than on literary aspects.

In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. Compared with the first stage, except for the selection of materials that glorified the revolution and took the working and peasant classes as the main characters in the early period of the founding of the PRC, the domestic publishing institutions were more strict about the themes of translated works during the Cultural Revolution. During this period, more works related to revolution and reflecting class struggle came to the English-speaking countries.

In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some works of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions didn't pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. Meanwhile, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak.

Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than publicity; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and markets. The English-speaking world, Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

Since Mo Yan was awarded the Nobel Prize for Literature, a large amount of Chinese literature, represented by his works, has been translated into the United States and other parts of the world. However, data show that translated works account for only 3% of the total number of publications in the United States, of which less than 1% are literary translations, indicating that the American public does not have an urgent and strong intrinsic need for foreign literature and culture (Xie Tianzhen 2019: 95).

===The Successful Transmission of ''Red Sorghum''===
'''Brief Introduction to ''Red Sorghum'''''

''Red Sorghum'' is a long novel written by Mo Yan, divided into five chapters: ''Red Sorghum'', ''Sorghum Wine'', ''Dog Ways'', ''Sorghum Funeral'', and ''Strange Death''. The five chapters were first published as novellas, of which ''Red Sorghum'' was first published in ''People’s Literature'' in 1986.

''Red Sorghum'' is a family saga of Yu Zhan-ao and Dai Fenglian(identified as Granddad and Grandma from a boy’s perspective), covering their romance, their spontaneous resistance against the Japanese invaders between 1939 and 1941. This novel is set in the fields of dense, tall, red sorghum plants in Northeast Gaomi Township, Shandong Province, China, hence the title ''Red Sorghum''. ''Red Sorghum'' is a classic work that shows the tenacity and national spirits of the Gaomi people in the Anti-Japanese war.

'''Translation and Transmission of ''Red Sorghum'''''

In 1988, Mo Yan’s work ''Dry River'' was first translated and published in Japan, and in 1999, a total of 54 foreign translations of Mo Yan’s works were published during the 11 years, focusing on three works: ''Red Sorghum'', ''Red Sorghum'' and ''The Garlic Ballads''. A total of 30 overseas publications of ''Red Sorghum'' and ''Red Sorghum'' accounted for nearly 60% of the total overseas publications of Mo Yan’s works during this period.

As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. Compared to most Chinese literary works that do not sell well overseas, the sales of ''Red Sorghum'' are more optimistic. According to scholar Bao Xiaoying’s statistics, the English version of ''Red Sorghum'' was published in 1993 and sold more than 50,000 copies in a dozen years, which is not bad sales.

A very important indicator of the reach of a Chinese work of literature in the United States is the number of U.S. libraries that collect the work. If the number of U.S. libraries collecting the work is high, it means that the work is widely distributed in the United States, and vice versa (Liu Guozhi, Chi Changhai. Li Qingliu 2022: 60).

According to the table of the top 10 ranking of the dissemination of English-translated Chinese contemporary novels published in the United States, it can be seen that the English-translated novel ''Red Sorghum'' ranks third overall among the Chinese contemporary novels published and disseminated in the United States. It can be said that ''Red Sorghum'' is the most widely distributed Chinese contemporary novel in the United States. Table 2 shows the collections of public and community libraries and libraries of universities and research institutions in different states. It also shows the ranking and distribution of the top ten states in the United States for the distribution of the novel ''Red Sorghum'' in English translation. Six of the top ten states have more than 40% of the public and community libraries collecting ''Red Sorghum'': 50% in Ohio, 49.23% in Illinois, 48.92% in California, 43.90% in Florida, 43.24% in North Carolina, and 41.27% in Texas, with Ohio accounting for half of the public and community libraries. . These data indicate that the Chinese contemporary novel ''Red Sorghum'' has entered public and community libraries in the U.S., showing that the structure of Chinese contemporary fiction distribution and readership in the U.S. is changing, shifting from its previous distribution primarily in universities and research institutions to the general public. (Two tables mentioned cannnot be uploaded)

'''The Reasons for ''Red Sorghum's'' Successful Transmission'''

The popularity of ''Red Sorghum'' overseas was made possible by many factors. The film of the same name is the pioneer. Thanks to the award-winning film, the translation and dissemination of the novel was promoted overseas. Coupled with the unique perspective and content of the work itself, and the translator Howard Goldblatt’s promotion and personalized translation, the successful transmission of this work was achieved.

'''The Literary Value of the Work Itself'''

Mo Yan, born in 1956 in Gaomi County, Shandong Province. ''Red Sorghum'' is based on the life of his hometown during the anti-Japanese war. Unlike other anti-Japanese literature, Mo Yan's anti-Japanese story is told from the perspective of ordinary people, which is more real and deeper. Mo Yan's literary works often portray original life with bold, mischievous depictions that resonate strongly with readers and shock them. In this novel, there is both questioning and rebellion against existing traditional values, as well as profound analysis of feudal ethics and human nature.

The theme of ''Red Sorghum'' is not only to promote the idea of living a bold, emancipated and frank life, but also to celebrate the patriotic spirit of the heroic resistance to Japan. The so-called "personality liberation" refers to the liberation of the "human" personality. Human being" is the unity of "spirit" and "flesh", "divinity" and "bestiality", "spirit" and "matter", "social man" and "natural man". Man has a "natural human nature", that is "human's" survival instincts and natural desires.

The novel ''Red Sorghum'' not only promotes the liberation of individuality, but also celebrates the tenacity and sacrificial spirit of anti-Japanese patriotism. This dual theme of enlightenment and salvation in literature is an inheritance of the May Fourth tradition. Both the May Fourth movement and the New Culture Movement happened at a time of increasing imperialist aggression against China and a sense of national crisis and the increasingly urgent historical requirement for national self-improvement, self-reliance and salvation.

'''The Pioneering Role of the Film ''Red Sorghum'''''

In today's era of new media, for many readers, they first come to the original work through an adaptation of the work, such as a film or television production. In other words, these readers get to know a literary work or a writer through a film or television work (Hao Dan 2019: 58). In fact, this is how foreign publishers and readers come to know Mo Yan and his ''Red Sorghum''. In 1988, the movie ''Red Sorghum'' directed by Zhang Yimou was released in Canada, the United States and other places. It is worth noting that not only the movie is adapted from Mo Yan's novel ''Red Sorghum'', but its screenwriting team also includes Mo Yan himself. In 1986, when Zhang Yimou decided to make the movie, Mo Yan only received 800 yuan in royalties and 1200 yuan in screenwriting fees. He would not have imagined that in the fifth year after the film's release (1993), the English translation of ''Red Sorghum'' would be published by Penguin Publishing in the United States, with a first printing of 10,000 copies. The number of its first printing is not large, but it is very rare for a contemporary Chinese writer in the early 1990s to have such a publishing opportunity and achievement in the United States. In addition, in 2004, when the American Arcade Press published Mo Yan's another work Big Breasts and Wide Hips, the publisher still mentioned the film ''Red Sorghum'' in the recommendation, which shows the role of the film in the dissemination of Mo Yan's novel.

It can be said that the translation and publication of the English translation of ''Red Sorghum'' is mainly based on the impressive international achievements of the film: in 1988, the film won the Golden Bear Award at the 38th Berlin International Film Festival, the Best Film Award, the Best Director Award, the True Novelty Award for feature films at the 5th Zimbabwe International Film Festival, the Film Critics Award at the 35th Sydney International Film Festival, the 1st Marseille International Film Festival in Morocco, and the Golden Bear Award for the Best Film at the 16th Brussels International Film Festival. In 1989, the film won the Best Film Award from the Radio Audience Jury at the 16th Brussels International Film Festival and the Silver Bear Award at the 5th Montreal World Film Festival in France; in 1990, the film was nominated for the annual prize of the GDR Filmmaker's Association for the ten best feature films of the annual Cuban Film Distribution Awards. Shortly after the film won the awards, Viking Penguin Press took the initiative to invite Howard Goldblatt to translate Mo Yan's ''Red Sorghum''. Of course, the translation of Mo Yan's work into English did not begin with ''Red Sorghum'', but prior to the award-winning film ''Red Sorghum'', Mo Yan's work had never been published in a single volume by a publisher in the English-speaking world.

'''Howard Goldblatt's Translation and Promotion'''

When it comes to the transmission of ''Red Sorghum'' in the English-speaking world, the contribution of its translator, Howard Goldblatt, cannot be overlooked. Howard Goldblatt is a well-known American sinologist and translator who has a high level of attainment in the study of contemporary Chinese literature, and has translated a large number of Chinese literary works. He was born in 1939 in California, USA. Later, while attending the U.S. Naval Officer's School, he was sent to serve in Taipei. While serving, Howard Goldblatt learned Chinese and read books to kill time, and gradually fell in love with Chinese culture. After studying Chinese at the National Taiwan Normal University for about a year, his Chinese language skills improved greatly. Later, he entered San Francisco State University and systematically studied Chinese language and literature. Because of his love for Chinese language and literature, He worked as a Chinese language teacher for one year after graduating with his master's degree. In order to continue to improve his Chinese language, he entered the Department of East Asian Languages at Indiana University to pursue a PhD in Chinese literature. In 1984, with his active leadership and assistance, ''Modern Chinese Literature'', a scholarly journal devoted to Chinese literature, was launched, with Howard Goldblatt as editor-in-chief, giving readers in the English-speaking world the opportunity to read Chinese literature, which contributed greatly to the promotion of Chinese literature.

As a confidant of Chinese literature, Howard Goldblatt has never stopped studying and translating Chinese literature for more than thirty years. His profound knowledge of both Chinese and English, good knowledge of Chinese literature, keen literary insight, and excellent translation skills have contributed to the achievement of Mo Yan, who was awarded the Nobel Prize for Literature, as well as to the dissemination of Chinese literature in the world and to the equal dialogue with world literature.

After Mo Yan won the Nobel Prize, almost everyone said that it was the translator Howard Goldblatt who made Mo Yan a success, and this is not an exaggeration. In terms of the text itself, there are two conditions for a work of contemporary Chinese literature to get the attention of publishers in English-speaking countries: one is a good story, and another is an authentic translation. A well-told story is a response to the cultural psychology and reading habits of the target readers. A good translation is very important in the translation of Mo Yan's works, because most of Mo Yan's novels have a unique Chinese historical background and profound Chinese traditional cultural connotation. Although he is known to the world literary world as a "storyteller", if the translator fails to translate the Chinese history and culture implied behind the Chinese language as effectively as possible into a language that can be understood by English-speaking readers, the transmission and popularity of these works will be difficult to achieve.

'''The Role of Publishing Brokers and Houses'''

For the works of Chinese writers to spread overseas, they must be supported and promoted by authoritative publishing brokers and publishing companies. The reason why Mo Yan's ''Red Sorghum'' is so popular in English-speaking countries is the support of his publishing agent team and Arcade Publishing.

Beijing Genuine&Profound Culture Media Co.,LTD.(hereinafter referred to as "Genuine&Profound") actually plays the role of a copyright agent for Mo Yan's works, responsible for developing the value of Mo Yan's works and planning the publication and distribution of Mo Yan's works. As the book publishing industry becomes more open and free, contemporary Chinese writers have had more knowledge of the publishing market, and some of them have realized the importance of publishing agents. A publishing agent, often called a copyright agent, is a middleman or intermediary that connects a work with a publisher. A publishing agent signs a copyright agency contract with a writer, and then helps the writer find a publishing platform for the work or an opportunity to exploit subsidiary rights related to the work. The services of a publishing agent are what Genuine&Profound provides for Mo Yan.

The uniqueness of Genuine&Profound lies in the fact that it has proposed the business model of "360°celebrity brokerage" for the first time in the industry. This service includes paper book publishing, digital rights management and promotion, promotion of film and television rights of literary works, brokerage of famous artists' artworks, promotion of famous artists' business and social activities, provision of artwork trading platforms, development and sales of derivatives, and legal protection of rights. With respect to Mo Yan's works, it believes that the value of Mo Yan is not only reflected in the publication and distribution of his Chinese works, but also in the overseas publication rights of paper books, film and television adaptation rights, digital publication rights, sales rights of calligraphy works and other subsidiary rights related to them.

The man behind Arcade Publishing, which has published five titles of Mo Yan's works in English translation, is in fact Richard Seaver, Mo Yan's most important advisor in the American publishing world. Arcade Publishing was established by Richard Seaver in 1988 to publish fiction and non-fiction literature. After Richard's death in 2009, Arcade went bankrupt and was acquired by Pegasus Publishing in July of the following year, and relaunched in 2011 under the name Pegasus, with its main focus remaining the same and the addition of some art books (Hao Dan 2019: 59). Today, Arcade Publishing has published nearly 300 authors from over 30 countries. Arcade Publishing has always been a great admirer of Mo Yan's works, and the front page of Arcade's official website has for quite some time read: Arcade and Skyhorse congratulate Mo Yan on winning the 2012 Nobel Prize for Literature". Unfortunately, Richard passed away without waiting for Mo Yan to win the Nobel Prize, but his remarkable vision and solidity as a publisher have made him immortal.

===Conclusion===
Literary works that "go global" should have both universal and heterogeneous qualities in themselves. Universality can resonate with overseas authors, while the unique local characteristics of the works excite readers' interest (Zhang Lijun, Yu Huijun 2021: 92).

Another important factor in the success of Mo Yan's overseas distribution was mentioned earlier: the overseas influence of Zhang Yimou's film. The huge market for films often plays an excellent role in advertising and rapidly promotes the translation and publication of original literary works overseas. The spread and influence of contemporary Chinese literature and Chinese films overseas actually help each other. On the one hand, this shows that outstanding literary scripts are an important basis for the success of films; on the other hand, it also shows that successful film operations will produce a chain effect that can lead to a series of related cultural industries.

In addition, in the process of Chinese literature going global the selection of translation subjects is crucial. Local translators in China do not know enough about the reading habits of Western readers and lack in-depth research on the literary publishing market, so the dissemination of works translated by them is inevitably hindered abroad. In contrast, foreign sinologists have the unique advantage of being the ideal translators for Chinese literature to go global. Local Chinese translators are more likely to perceive Chinese characteristics and outstanding literary works, while the group of sinologists has a deeper understanding of the target language readership and dissemination. The advantages of both complement each other, thus promoting Chinese literature to go out better.

In addition, nowadays, in the context of globalization, it is also very important to establish a good relationship with foreign well-known publishing institutions. ''Red Sorghum'' was released by a well-known foreign publisher, so that it could be more widely known by its target readers. The most important thing is that major publishers can get a good understanding of the market, which is conducive to the dissemination of Chinese literature in the West.

The experience of the successful dissemination of ''Red Sorghum'' shows that for contemporary Chinese literature to go global, not only is there a requirement for the quality and cultural value of the work itself, but there is also a need for reliable translators and authoritative publishing partners.

===References===
Bao Xiaoying鲍晓英. (2013) 中国文化“走出去”之译介模式探索——中国外文局副局长兼总编辑黄友义访谈录[Explorations on the Translation and Communication Model for Chinese Literature Going Out—Interview with Huang Youyi, Deputy Director and Editor-in-Chief of China Foreign Language Bureau][J]. ''中国翻译'' [Chinese Translators Journal] (5): 43-45.

Bao Xiaoying鲍晓英. (2014) 中国文学“走出去”译介模式研究——以莫言英译作品美国译介为例[Study on the Translation and Communication Model for Chinese Literature Going Out—with the Communication of Mo Yan's English Translations in America as an Example][C]. Shanghai International Studies University上海外国语大学.

Bao Xiaoying鲍晓英. (2015) 译介学视野下的中国文化外译观—谢天振教授中国文化外译观研究[The View of Chinese Culture in Foreign Translation from the Perspective of Translation Studies—A Study of Professor Xie Tianzhen's View of Chinese Culture in Foreign Translation][J]. ''外语研究'' [Foreign Languages Research] (5): 78-83.

Hu Anjiang胡安江. (2012) 再论中国文学“走出去”之译者模式及翻译策略——以寒山诗在英语世界的传播为例[The Translation Model and the Translating Strategy Revisited—with the Dissemination of Cold Mountain Poems in the English World as an Example][J]. ''外语教学理论与实践'' [Foreign Language Learning Theory and Practice] (4): 55-61.

Hao Dan郝丹. (2019) 莫言作品英译本的出版传播经验研究[A Study of the Publication and Dissemination Experience of Mo Yan's Works in English Translation][J]. ''对外传播'' [International Communications] (06): 58-60.

Liu Guozhi, Chi Changhai, Li Qingliu刘国芝，池昌海，李清柳. (2022) 英译小说《红高粱》在美国的传播与接受[Dissemination and Reception of the English Translation of Red Sorghum in America][J]. ''中国翻译'' [Chinese Translators Journal] 43(02): 59-66.

Wan Yu万聿. (2021) 中国当代文学英译概览与研究综述[Overview and Research Review of English Translation of Contemporary Chinese Literature][J]. ''复旦外国语言文学论丛'' [Fudan Forum on Foreign Languages and Literature] (02): 215-223.

Xu Jun许钧. (2012) 翻译研究之用及其可能的出路[Translation Studies in China: Its Functions and a Possible Direction for Its Further Development][J]. ''中国翻译'' [Chinese Translators Journal] (1): 5-12.

Xie Tianzhen谢天振. (2019) 译介学:理念创新与学术前景[Medio-translatology: Its Innovative Concepts and Academic Prospects][J]. ''外语学刊'' [Foreign Language Research] (04): 95-102.

Xu Wen徐稳. (2013) 全球化背景下当代中国文化传播的困境与出路[The Dilemma and Solution of the Advanced Culture Transmission under the Background of Globalization][J]. ''山东大学学报（哲学社会科学版）'' [Journal of Shandong University(Philosophy and Social Sciences)] (4): 96-103.

Xiao Yingying萧盈盈. (2012) 中华文化走出去的现状分析与发展思考[Analysis of the Current Situation and Development of Chinese Culture Going Out][J]. ''现代传播'' [Modern Communication] (1): 84-86.

Yu Hong于虹. (2021) 译介学与中国现当代文学在美国的翻译与传播[Medio-translatology and the Translation and Dissemination of Contemporary Chinese Literature in America][J]. ''外语学''刊 [Foreign Language Research] (02): 112-115.

Zhang Lijun, Yu Huijun张丽君，余慧君. (2021) 有声与无声——莫言《红高粱》海外传播的启示[Sound and Silence—Enlightenment of Mo Yan's Red Sorghum's Overseas Communication][J]. ''文化创新比较研究'' [Comparative Study of Cultural Innovation] 5(21): 89-92.

===Terms and expressions===
《红高粱家族》 ''Red Sorghum''

诺贝尔文学奖 the Nobel Prize for Literature

安德烈·勒菲弗尔Andre Lefevere

三要素理论 "three elements" (patronage, ideology and poetics)

葛浩文 Howard Goldblatt

文革 the Cultural Revolution

《枯河》 ''Dry River''

《天堂蒜薹之歌》 ''The Garlic Ballads''

企鹅出版公司 Penguin Publishing

《丰乳肥臀》 ''Big Breasts and Wide Hips''

柏林国际电影节 Berlin International Film Festival

津巴布韦国际电影节 Zimbabwe International Film Festival

悉尼国际电影节 Sidney International Film Festival

马拉什国际电影电视节 Mar del Plata Film Festival

布鲁塞尔国际电影节 Bruxelles International Film Festival

蒙彼利埃国际电影节 Montreal World Film Festival

《中国现代文学》 ''Modern Chinese Literature''

北京精典博维文化传媒有限公司 Beijing Genuine&Profound Culture Media Co.,LTD.

拱廊出版公司 Arcade Publishing

理查德·西维尔 Richard Seaver

===Questions===
1. What's the "three elements" put forward by Lefevere?

2. How many American books has China introduced in a year recently?

3. When was Mo Yan awarded the Nobel Prize in Literature?

4. Which novel is the most translated and reprinted work of Mo Yan?

5. How many stages are there in the history of contemporary Chinese literature in English-speaking countries?

6. What are the reasons for ''Red Sorghum's'' successful transmission?

===Answers===
1. Patronage, ideology and poetics.

2. About 150.

3. On October 11, 2012.

4. ''Red Sorghum''

5. Four.

6. The literary value of the work itself; the pioneering role of the film ''Red Sorghum''; Howard Goldblatt's translation and promotion; the role of publishing brokers and houses.

20220630 Culture 5

2022-07-06T14:11:21Z

Liu Shuangying: /* 英语笔译刘双英 Liu Shuangying 202170081585 */

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

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

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

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==英语笔译刘乐乐 Liu Lele 202170081584==
Chinese Online Fantasy Novels：A comparison Between Dragon Raja and Harry Potter
Liu Lele
===Abstract===
Harry Potter and Dragon Raja, two famous fantasy novels, are similar in many ways including plots, character settings and so on. Since the former is famous across the world while the latter have not been translated from Chinese into English yet, we can learn a lot sentence patterns, phrases, and words from Harry Potter when translating Dragon Raja into English.
===Key words===
Dragon Raja; translation material; communication; fantasy
===Introduction===
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.
===Similarities===
Harry Potter starts from the family of Mr. Dursley, the husband of the main character Harry Potter’s aunt, and Dragon Raja also starts from the family of Mr. Lu Gucheng, the uncle of the main character Lu Mingfei.

There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.

In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.

Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.

Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon Raja", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a loser in Dragon Raja. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.

In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.

Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.
===Differences===
As mentioned above, Harry Potter has a lot in common with Dragons, but that doesn't prevent both books from being excellent fantasy novels. Although there are many similarities between the two works at first glance, there are fundamental differences between the two works
"Harry Potter" is mainly based on the British or European wizard culture as the creation, describes an imaginary magical world. The Dragon Race, on the other hand, mainly creates a dragon world based on Nordic mythology. While Harry Potter is full of wizarding legends and English history, Dragons is based on Norse mythology, but mostly borrows from names and allusions.

Most of the stories in harry Potter take place at Hogwarts, so the rest of the books are very brief. Dragons takes place everywhere, not just at Castle College.

In both books, there are special groups with superpowers, wizards and dragon hybrids. But their lifestyles are totally different. Wizards are more isolated and do not generally interact with Muggles; Hybrids, on the other hand, are hidden in the secular world and hold impressive secular power. And when dealing with enemies, wizards can only use magic, which means that only magic can defeat magic in the Harry Potter worldview. In Dragon Race, the hybrids are very willing to use the power of technology. Science is very important in Dragon Race, and the hybrids are always looking for the combination of dragon power and science.

The ultimate villains in Harry Potter are pure-blood believers led by Lord Voldemort, but they still belong to wizards. As far as dragons are concerned, the villains are dragons. Simply put, the villains in Harry Potter are wizards, while the villains in Dragons are other races. Those who are not of our kind have different hearts. So Dragons as a whole reads more murder and hatred than Harry Potter.

Harry Potter is a fairy tale with strong religious significance in essence. There are many fairy tale elements and religious metaphors in it, and more of them are religious thinking to persuade people to be good. "Dragon Raja" is a secular novel for young people from the beginning, most of which is about the discussion of common people themselves.

In Harry Potter, because it is the essence of fairy tale, the protagonist is naturally good, while the villain is naturally evil. The definition of good and evil is very simple and crude. In The Dragon Clan, it seems that the dragon clan is the villain, but the dragon clan described in the book is not necessarily evil. The confrontation between the hybrid and the dragon clan is more for survival status than good or evil.

In fact, there are many differences between the two works. For example, Lumingfield is more close to ordinary people and easier for us to relate to, while Harry is more like imaginary characters.
===Borrowing from Similarities===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

3.1Sentence Patterns
(1)The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。
In Dragon Raja, it is the same case. So we can translate the above sentence into:
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.

(2)Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...
这也许是杜斯礼一家搞的恶作剧？
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt. So we can translate the above sentence into:
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?

3.2 Phrases
(1)A deafening shout：震耳欲聋
Both in Harry Potter and in Dragon Raja, there’s people like shouting at the main characters, so we can use this phrase to make a vivid description of it.
(2)Questions exploded inside Harry’s head like fireworks.
These two words , “Explode” and “Fireworks”, together constitutes an lively description of the scene. Lu Mingfei was loaded with questions in his head when starting to know everything about dragons, which sounds unbelievable in the real world.

(3)The rattling cart火车咔嗒响。
Both Harry Potter and Dragon Raja have their special trains lead to the schools. So when depicting the sound a train makes in its way, we can use this phrase.

3.3 Words
Since both of the two are novels, when doing translating, we can meet a lot dialogues, which means the Chinese character--”说(said)” will need various substitutions. Besides, there are many descriptions of movements and expressions. Both these words can be very tricky when doing translating. Fortunately, Harry Potter offers various translations of them.

3.3.1 Words to describe the act of speaking(说）
(1) ...Harry asked urgently.
急忙问道，急切问道。
(2) ...said the boy, with a slight sneer.
男孩冷笑道(3)...said the pale boy carelessly,
男孩面色苍白，漫不经心地说
(4) ...he began
他开始说到
(5)...asked politely
礼貌地问
(6)...asked Seamus with great interest.
饶有兴趣地问
(7)...he said coolly
他冷冷地说

3.3.2 Movements and Expressions
(1) waves merrily at him
开心地朝他招手。
(2) sneaking to the kitchen for some food
溜进厨房找东西吃
(3) collapsed into a chair
一屁股坐下
(4) made both of them jump
两个人都吓了一跳
(5) hamming on the door to wake you up.
捶门叫她起床
(6) drumming their fingers on the glass
手指在玻璃上敲击
(7)his stomach rumbling with hunger
肚子咕咕叫
(8) Harry sighed and stretched out on the bed
哈利叹了口气，在床上躺成“大”字形
===Application in translating===
大脸猫头像跳闪，“诺诺”上线。
The profile of a big-face cat flickered, which means NONO got online.
路明非犹豫了一下，“是你？”
“Is that you?”hesitated a little, Lu Mingfei asked
“嗯，陈墨瞳。”诺诺的回答显得懒洋洋的，“没事上来打两盘。”
“Yeah,it’s me, Chen Motong.”She said carelessly,”Got no better things to do than some gaming.”
“你怎么知道我的ID？”
“How did you get my ID?”
“人肉搜索啊，嘿。你居然用‘明明’这种ID，像女孩似的，还有‘夕阳的刻痕’……你是人妖么？”
“Cyber manhunt. Hey, you took Mingming as your ID. Girlish! And “sunset”,are you sure you are not a ladyboy?
“这都能人肉到？千万保密，那是我来逗我弟玩的。”
“You even knew this?! Please keep this secret for me. That’s for playing some little tricks on my cousin.”
“开玩笑的啦，诺玛搜索到的，这对诺玛小菜一碟。你星际打得不错。”
“Just joking. It’s Noma, our intelligent computer, that got all this information. It’s a piece of cake for her. By the way, you are good at Starcraft.”
“行了，我都输给你了。”
“Come on, I lost to you.”
“是我输，诺玛和我一起打的，我们两个控制一家。最后我知道你在升三级基地，因为诺玛偷偷开了地图，看见了。”
“I should be the loser. I played the game with the help of Noma.
“作弊死全家！”路明非打出这句话。
“Cheaters will have his family completely died.” Lu Mingfei type this sentence.
只是随手，这话在群里大家随便说，没谁真的往心里去。
It’s just an online phrase that were often used and no one would take it seriously.
“我家只有我一个人。”诺诺回复。
“I’ve already got no family to lose.”answered Nono.
路明非愣了一下，“对不起。”
Lu Mingfei was stunned a little, and said,”sorry.”
“这有什么对不起的？”诺诺答得很平淡，“玩一盘？”
“Nothing to feel sorry about.”Nono said carelessly still,”Want a game?”
“没心情。”
“not in the mood.”
“失恋了？”
“Broke up with your girlfriend?”
路明非浑身一个激灵，诺诺像是个小巫婆似的，看穿了他的一切，叫他完全无处容身。
“Lu Mingfei was shocked. Nono’s like a little wizard, seeing through everything of him.He could hide nothing in front of her.
“还没有……我没有女朋友，当然不会失恋了，姐姐你想怎样啊？”他输入。
“How can I break up with my girlfriend when I don’t have a one? So what do you want? Big sister!”He typed.
“姐姐叫得还蛮甜的，”诺诺扔出一个龇牙咧嘴的笑脸，“来吧，说说到底怎么回事，我也许能帮上忙。”
“That’s sweet.”Nono sent him a grinning smile,”Alright, let’s hear it.Maybe I can help you.”
“你帮什么忙？你又不认识她。”
“I doubt that.You don’t know about her.”
“我是不认识陈雯雯。”小巫婆诺诺回复得极快。
“Yeah, I do know nothing about Chen Wenwen.”
“你到底知道多少？”路明非忽地很惊恐。
“How much do you know?”Lu Mingfei suddenly got frightened.
“太多了。”
“too much.”
“你们……到底是谁？”路明非手有点抖。
“Who are you?”Typed Lu Mingfei with trembling fingers.
(1) 路明非在屏幕上无奈地打出“GG”（“GG”，指“Good Game”，在竞技类游戏中称赞对方玩得好，也是认负的意思），而后切出了游戏。屏幕上显示的最后一个场景，是十二艘人类巡洋舰以华丽的大和炮聚焦射击，把他的母巢化作了一滩血水。
Lu mingfei reluctantly typed "GG" (" GG "refers to" Good Game "in a competitive Game) on the screen before cutting out the Game. The final scene shown on the screen was twelve human cruisers firing in focus with their magnificent Yamato guns, turning his brood into a pool of blood.
(2) 他输掉了今天的第六局，胜负比例是零比六，这一次他坚持到了22分23秒才被拿下，不过最终还是被拿下了，对方的微操很好，用的又是人类，人类的机枪兵在这个游戏里是个变态的兵种，出枪速度为零，站住了拔枪就射，收枪就跑，路明非的小狗追不上，在路上就一只只被打爆了。
He lost his game for today 6-0，with round 6 hanging/lasting for 22 minutes 23 seconds. His opponent is very good at micro control, with the use of Terran whose riflemen，capable of shooting in an instant，is extremely strong in the game. stood still pull out a gun shoot, gun ran, Lu MingFei's puppy can catch up, thus getting beaten up one by one.
路明非没啃声儿，切到QQ上，那个戴棒球帽的女孩头像还是灰色的，一动不动。对方没上线，又白等了。他抓了抓脑袋，有点失望。另一个头像倒是跳了起来，是个长得很欠的熊猫。
Lu Mingfei did not answer. Switch into QQ, the profile of a girl wearing a baseball cap stayedgray and quiet there. She wasn't online, and he was just waiting for nothing. Scratching his head, he felt a little upset. The other profile was active though，a very disturbing panda.
===Conclusion===
Both Dragon Raja and Harry Potter are great fantasy novels. Dragon Raja has only been enjoyed in China, which to some extent is because it has no other versions than Chinese ones. Harry Potter has both attracting languages and similar plots with Dragon Raja, so there are things can be learned from it.
===References===
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.

==英语笔译刘双英 Liu Shuangying 202170081585==
<center>'''The Devlopment and Dissemination of Chinese Ceramic Culture'''</center>

<center>Liu Shuangying</center>

===Abstract===
===Key words===
===Introduction===
As China's national strength continues to rise, its economy is growing rapidly, but traditional Chinese culture has not yet been well spread. China was one of the first countries to make pottery, and the birthplace of porcelain. From the current archaeological excavations, the earlist ceramics may be the porcelain products created by primitive people when they found that clay was pounded into mud and coated on a container consisting of grass and wood, and the mud would no longer dissolve in water after firing, and soon they started learning to make objects using only clay.(Guo Yue&Song Lili 2022, 31）
The ceramic culture explored in this paper has a long history, but with the development of the times, today's Chinese ceramic culture is far less flourish than in the past. At a time when the country is vigorously promoting cultural outreach and enhancing cultural confidence across the board, it is especially important to reinvigorate ceramic culture and strengthen the development and dissemination of Chinese ceramic culture. People from other countries in the world do not yet know much about traditional Chinese culture, especially in some specialized fields, such as the pottery-making techniques in ceramic culture, and sometimes the knowledge and terminology in these fields are not well understood by our own Chinese laymen as well, who only know some very basic and superficial things. Foremostly, we have to understand its intrinsic cultural connotation and unique historical value before we can plan for its way out and prepare for its revitalization. Therefore, the dissemination of these traditional cultures requires more effort, time and energy to get out of the country, catering to the strategy of "Chinese culture going out" as stated by General Secretary Xi Jinping, which is also of great practical significance to the Chinese dream of the great rejuvenation of the Chinese nation. Only when the economy and culture develop together, and the most characteristic industries of the nation are exported to the outside world, so that more people can understand its unique characteristics, can a country be truly strong and respected by the world.

===The connotation of ceramic culture===
Ceramics is a general term for pottery and porcelain, and ceramics itself is a kind of arts and crafts, as well as a folk culture, which can be seen in folk and temple in ancient times. Mr. Chen Yuqian combined the practicality and aesthetics of ceramics, the unity of science and technology and plastic art and regional factors to define ceramic culture: the essence of ceramic culture actually refers to the various types of cultural connotations embodied in the process of production to display and sale of ceramics.（Hong Lin 2018, 07）Traditional ceramic culture, commonly speaking, is the way of inheritance preserved by the ancestors of the Chinese nation in the production of ceramics, making objects. It is the evolution of ancient Chinese traditional thought, with local folk customs as the core, reflecting the aesthetic ideas of the people, the pleasure of life and the laws of formal beauty at that time.（Wang Fang 2017, 163）
In the light of the above opinions, I believe that ceramic culture includes not only the crafts of making various kinds of fine ceramics, but also the various ideas incorporated into porcelain by ancient working people when making ceramics. From the very beginning, ceramics were only designed for daily use, but later on, various carving techniques were developed, colors were enriched, painting and calligraphy were incorporated into ceramics, and so on, making ceramics more and more exquisite. And in different periods, ceramics show different appearance, and people's preferences for thier appearances and colors, for each stage of the unique image reflects the social landscape of the period, reflecting the rich historical stories behind the characteristics of the historical form of special periods, such as the famous ceramics of different historical periods, such as the Tang Dynasty’s "Tang Tri-Color Glazed Ceramics", the rich colors of the ceramics had changed the style of plain porcelain in the past, reflecting the openness and inclusiveness of the Tang Dynasty to a certain extent. There are many other famous ceramics of other dynasties that reflect the special connotation of the times and the temperament of the people. This is the ceramic culture hidden deeply in the ceramics, which is worthy of our study and learning, and should be vigorously inherited and developed, which is what our country has been advocating that we should stay true to cultural confidence, requiring the Chinese people to adhere to the excellent Chinese traditional culture and faith. It’s the pride of the advanced culture of socialism with Chinese characteristics. Ceramic culture is also something that should be spread vigorously in the new era, so that we can let more people obtain more specific information about China and enhance its the international status.

===The development of ceramic culture in different dynasties===
Ceramic culture has been an important part of Chinese more than 5,000 years culture, and ceramics have been produced for thousands of years since the ancient times.（Shao Changzong 2022, 01）Ceramic culture began in the Neolithic period, and each historical period has shown different characteristics. During the Tang Dynasty, there is the famous " Tang Tri-Color Glazed Ceramics " ceramic culture, which reflects the characteristics of the pottery skills of the Tang Dynasty. During the Yuan Dynasty, there is the famous "Jingdezhen blue and white porcelian" ceramic culture, and many people know about Chinese ceramics because of the blue and white porcelian. Black pottery, colored pottery, etc., all reflect the characteristics of unique aesthetic skills. Just like our modern life, the things that are popular in different periods will be different, which to a certain extent can also reflect the current social customs and mainstream thinking, so the different types and colors of ceramics presented in different historical periods reflect the ceramic culture, but also reflect the thinking of the people in the society at that time.

===Subtitle2===
===Conclusion===
===References===

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

[1] 王雪明,刘奕.中国百年科幻小说译介:回顾与展望[J].中国翻译,2015,36(06):28-33+128.

[2] 姜倩. 幻想与现实：二十世纪科幻小说在中国的译介[D].复旦大学,2006.

[3] 黄唯唯.《三体》的英译研究——让中国式科幻走向世界[J].湖北第二师范学院学报,2016,33(09):125-128.

[4] 孔庆东.中国科幻小说概说[J].涪陵师范学院学报,2003(03):37-45.

[5] 高茜,王晓辉.中国科幻小说英译发展述评:2000-2020年[J].中国翻译,2021,42(05):57-64+192.

[6] 梁昊文.中国当代科幻小说外译及其研究述评[J].广东外语外贸大学学报,2019,30(01):41-46+52.

[7] 徐伟彬.科幻小说翻译的科学意义[J].湖州师范学院学报,2002(05):22-25.

[8] 任冬梅.新世纪以来中国科幻小说的现状及前景[J].当代文坛,2018(03):140-145.

[9] 吴岩.论科幻小说的概念[J].昆明师范高等专科学校学报,2004(01):5-9.

[10] 吴赟,何敏.《三体》在美国的译介之旅:语境、主体与策略[J].外国语(上海外国语大学学报),2019,42(01):94-102.

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Transmission of Contemporary Chinese Literature in English-speaking Countries: A Case Study of ''Red Sorghum'''''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===
In the globalization pattern of cultural pluralism and coexistence, it is the top priority of cultural construction and reform to enhance the global influence of Chinese culture and spread and promote Chinese culture to the world. It is our goal to promote Chinese culture to go global, and the translation of Chinese literature into foreign languages is an important means to achieve this goal. However, this process is not always smooth, and as the process of "going global" in China is hindered, people gradually realize that many factors other than the act of translation are affecting the "going global" of Chinese culture.

Mo Yan is a leading figure in contemporary Chinese literature, and after winning the Nobel Prize for Literature, the attention and sales of his works abroad have increased dramatically. At a time when translations of Chinese contemporary literature have repeatedly suffered setbacks, the successful translation of Mo Yan's novels has sounded the trumpet of victory. This paper analyzes the importance, current situation and reasons for the "going global" of contemporary literature with reference to Andre Lefevere's theory of "three elements" (patronage, ideology and poetics), and studies the successful translation of Mo Yan's masterpiece ''Red Sorghum'' overseas. The study of the successful translation of ''Red Sorghum'' overseas, and the exploration of the effective translation mode of contemporary literature in China, are hoping to contribute to Chinese contemporary literature's going global.

===Key words===
contemporary Chinese literature; transmission; ''Red Sorghum''

===Introduction===
With the further development of globalization, it is no longer a pure economic phenomenon. What accompanies economic globalization is political globalization and the exchange, collision and integration of "soft power" with cultural ideas, ideologies and values as its basic connotation across national borders. Culture is an important symbol of a country's soft power and plays an increasingly prominent role in the competition for comprehensive national power. The globalization of cultural communication has become a social reality that cannot be ignored. (Xu Wen 2013: 96) Different countries, nationalities and cultures want to communicate with each other, so that cultural communication can break through the original national boundaries and geographical restrictions, and eventually get out of the narrow and prejudiced national culture and gain recognition in the global scope.

The "going global" of Chinese culture has been elevated to a national strategic level, and the translation of contemporary Chinese literature, as an important carrier of culture, has assumed the primary task. However, it must be admitted that Chinese literature in general is still in a marginal position in the field of world literature. From the overall situation of translation and dissemination of Chinese contemporary literature, the problems of poor quality of translation, few number of publications, and low overseas acceptance are very prominent. According to statistics, during the nearly 110 years from the beginning of 1900s to the beginning of 2000s, China translated and introduced about 100,000 Western books, while the West introduced less than 500 Chinese books. In recent years, China has introduced about 150 American books in a year, while the United States has imported less than 10 Chinese literary works. (Bao Xiaoying 2015: 80) There is an obvious imbalance between the export and import of literature. Thus, it is clear that there is a long way to go for Chinese contemporary literature to "go global".

On October 11, 2012, Mo Yan was awarded the Nobel Prize in Literature, becoming the first Chinese writer to win the Nobel Prize in Literature. Since then, the popularity of contemporary Chinese literature in the world literary scene has increased dramatically, more readers from abroad have begun to pay attention to the works of contemporary Chinese writers, and the attention of overseas academic circles has also begun to focus on Chinese literature. This has offered a good opportunity for Chinese contemporary literature to go global, and also put forward new ideas for the study of translation and dissemination of Chinese contemporary literature overseas.

Since 1988, Mo Yan’s works have been translated into English, French, Spanish, German, Swedish, Russian, Japanese and other languages. As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. At the same time, as the first novel to be translated overseas and immediately gain acclaim and access to Western commercial channels, ''Red Sorghum'' has set a model for the translation and transmission of contemporary Chinese literature.

This paper takes Howard Goldblatt's translation of ''Red Sorghum'' as a case study to examine the overseas transmission and acceptance of this translation on the basis of previous studies, so as to provide some inspiration for the transmission of contemporary Chinese literature. Due to the limitations of language, this paper will only talk about the translation and transmission of contemporary Chinese literature in English-speaking countries.

===The Importance of Contemporary Chinese Literature Going Global===
Culture has always been an important factor affecting national competitiveness. All major countries in the world have made the improvement of their culture an important national development strategy. Every country, nation and culture wants to exchange with each other, so that their culture can break through the original national boundaries and geographical restrictions and achieve a wider and deeper dissemination. At present, "Chinese literature going global" is flourishing, and the translation of Chinese literature has become an important part of spreading Chinese culture (Bao Xiaoying 2013: 62). Since the 21st century, China has devoted itself to the translation and interpretation of Chinese literature, and has launched a series of publication projects on the translation and dissemination of Chinese literature. At the same time, many journals of Chinese literature in English translation have been established to promote contemporary Chinese literature to the English-speaking world (Yu Hong 2021: 112).

Culture is an important symbol of a country's "soft power" and a symbol of its influence and cohesion. Culture as a soft power plays an increasingly prominent role in the competition for comprehensive national power. Culture has always been an important factor in national competitiveness. Having a strong "cultural soft power" means being able to win the initiative in the fierce international competition. Without cultural soft power, a country has no connotation, no support, and cannot become a real major country.

The strategy of "going global" of Chinese culture was first proposed in the mid-1990s. The "going global" strategy is a major initiative in the new stage of opening up to the outside world. Since then, the "going global" strategy has been expanded from the economic field to the cultural field, and relevant documents have been issued one after another.

Chinese culture "going global" has two basic meanings: First, it is the dissemination of Chinese cultural ideas and cultural forms to the world through cultural exchange. Second, it refers to the export of cultural products and services in international trade (Xiao Yingying 2012: 84). Compared with developed countries in the West, China has a serious "cognitive deficit" in cultural trade, from ideas, cultural symbols to cultural products, and many countries still have a fragmented, one-sided and superficial understanding of Chinese culture. China's economy is growing, but it is still in a weak position in terms of cultural soft power, such as cultural communication and influence, and cultural weakness, which can only be solved by developing cultural industries and communicating with other cultures (Bao Xiaoying 2014: 7).

Communication is the nature of culture, through which different cultures can be perceived. In today's globalization, cross-cultural communication affects people's thought and behavior from different aspects. Translation has always played a very important role in the process of intercultural communication. Translation is not only the conversion of language, but also the transmission of culture. Translation can spread new ideas, new concepts and new technologies, promote cultural exchange and progress, as well as promoting the common development of different cultures. Throughout the history of Chinese and foreign cultures, it is evident that translation has played a great role in spreading cultures in the world. Translation has greatly enriched the exchange and dissemination of Chinese and foreign ideas.

Above all, translation bridges the language barrier between different cultural societies, contributes to the exchange and interaction of cultural information with other countries, facilitates the common development of national cultures, and promotes the sharing of human civilization. "The development within a country and the establishment of its international status depend largely on cultural soft power, and cultural soft power, whether imported or exported, is, in our opinion, first and foremost a translation issue." (Xu Jun 2012: 12) The current strategy of "going global" of Chinese culture advocated by the Chinese government is, in a small way, to export our "cultural soft power" through the power of "translation", and in a larger way, to enhance China's "international status" (Hu Anjiang 2012: 56).

The translation, publication and dissemination of Chinese literature have become an important part of China's cultural outreach. The world needs to observe China through Chinese literature, and China needs to show its true image through literature. Without the role of translation as a medium and without the outreach of translated texts, the outreach of Chinese culture will only be empty talk. It has always been the goal of the country to promote the "going global" of Chinese culture through the translation of Chinese classics (Bao Xiaoying 2013: 54).

===Transmission of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present) (Wan Yu 2021: 220).

In the first stage, China had fewer exchanges with English-speaking countries due to political-ideological conflicts. As a result, relatively few foreign-led publications of contemporary Chinese literature were published during this phase. In the first stage, contemporary Chinese literature translated to English-speaking countries focused more on social and political aspects than on literary aspects.

In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. Compared with the first stage, except for the selection of materials that glorified the revolution and took the working and peasant classes as the main characters in the early period of the founding of the PRC, the domestic publishing institutions were more strict about the themes of translated works during the Cultural Revolution. During this period, more works related to revolution and reflecting class struggle came to the English-speaking countries.

In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some works of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions didn't pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. Meanwhile, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak.

Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than publicity; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and markets. The English-speaking world, Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

Since Mo Yan was awarded the Nobel Prize for Literature, a large amount of Chinese literature, represented by his works, has been translated into the United States and other parts of the world. However, data show that translated works account for only 3% of the total number of publications in the United States, of which less than 1% are literary translations, indicating that the American public does not have an urgent and strong intrinsic need for foreign literature and culture (Xie Tianzhen 2019: 95).

===The Successful Transmission of ''Red Sorghum''===
'''Brief Introduction to ''Red Sorghum'''''

''Red Sorghum'' is a long novel written by Mo Yan, divided into five chapters: ''Red Sorghum'', ''Sorghum Wine'', ''Dog Ways'', ''Sorghum Funeral'', and ''Strange Death''. The five chapters were first published as novellas, of which ''Red Sorghum'' was first published in ''People’s Literature'' in 1986.

''Red Sorghum'' is a family saga of Yu Zhan-ao and Dai Fenglian(identified as Granddad and Grandma from a boy’s perspective), covering their romance, their spontaneous resistance against the Japanese invaders between 1939 and 1941. This novel is set in the fields of dense, tall, red sorghum plants in Northeast Gaomi Township, Shandong Province, China, hence the title ''Red Sorghum''. ''Red Sorghum'' is a classic work that shows the tenacity and national spirits of the Gaomi people in the Anti-Japanese war.

'''Translation and Transmission of ''Red Sorghum'''''

In 1988, Mo Yan’s work ''Dry River'' was first translated and published in Japan, and in 1999, a total of 54 foreign translations of Mo Yan’s works were published during the 11 years, focusing on three works: ''Red Sorghum'', ''Red Sorghum'' and ''The Garlic Ballads''. A total of 30 overseas publications of ''Red Sorghum'' and ''Red Sorghum'' accounted for nearly 60% of the total overseas publications of Mo Yan’s works during this period.

As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. Compared to most Chinese literary works that do not sell well overseas, the sales of ''Red Sorghum'' are more optimistic. According to scholar Bao Xiaoying’s statistics, the English version of ''Red Sorghum'' was published in 1993 and sold more than 50,000 copies in a dozen years, which is not bad sales.

A very important indicator of the reach of a Chinese work of literature in the United States is the number of U.S. libraries that collect the work. If the number of U.S. libraries collecting the work is high, it means that the work is widely distributed in the United States, and vice versa (Liu Guozhi, Chi Changhai. Li Qingliu 2022: 60).

According to the table of the top 10 ranking of the dissemination of English-translated Chinese contemporary novels published in the United States, it can be seen that the English-translated novel ''Red Sorghum'' ranks third overall among the Chinese contemporary novels published and disseminated in the United States. It can be said that ''Red Sorghum'' is the most widely distributed Chinese contemporary novel in the United States. Table 2 shows the collections of public and community libraries and libraries of universities and research institutions in different states. It also shows the ranking and distribution of the top ten states in the United States for the distribution of the novel ''Red Sorghum'' in English translation. Six of the top ten states have more than 40% of the public and community libraries collecting ''Red Sorghum'': 50% in Ohio, 49.23% in Illinois, 48.92% in California, 43.90% in Florida, 43.24% in North Carolina, and 41.27% in Texas, with Ohio accounting for half of the public and community libraries. . These data indicate that the Chinese contemporary novel ''Red Sorghum'' has entered public and community libraries in the U.S., showing that the structure of Chinese contemporary fiction distribution and readership in the U.S. is changing, shifting from its previous distribution primarily in universities and research institutions to the general public. (Two tables mentioned cannnot be uploaded)

'''The Reasons for ''Red Sorghum's'' Successful Transmission'''

The popularity of ''Red Sorghum'' overseas was made possible by many factors. The film of the same name is the pioneer. Thanks to the award-winning film, the translation and dissemination of the novel was promoted overseas. Coupled with the unique perspective and content of the work itself, and the translator Howard Goldblatt’s promotion and personalized translation, the successful transmission of this work was achieved.

'''The Literary Value of the Work Itself'''

Mo Yan, born in 1956 in Gaomi County, Shandong Province. ''Red Sorghum'' is based on the life of his hometown during the anti-Japanese war. Unlike other anti-Japanese literature, Mo Yan's anti-Japanese story is told from the perspective of ordinary people, which is more real and deeper. Mo Yan's literary works often portray original life with bold, mischievous depictions that resonate strongly with readers and shock them. In this novel, there is both questioning and rebellion against existing traditional values, as well as profound analysis of feudal ethics and human nature.

The theme of ''Red Sorghum'' is not only to promote the idea of living a bold, emancipated and frank life, but also to celebrate the patriotic spirit of the heroic resistance to Japan. The so-called "personality liberation" refers to the liberation of the "human" personality. Human being" is the unity of "spirit" and "flesh", "divinity" and "bestiality", "spirit" and "matter", "social man" and "natural man". Man has a "natural human nature", that is "human's" survival instincts and natural desires.

The novel ''Red Sorghum'' not only promotes the liberation of individuality, but also celebrates the tenacity and sacrificial spirit of anti-Japanese patriotism. This dual theme of enlightenment and salvation in literature is an inheritance of the May Fourth tradition. Both the May Fourth movement and the New Culture Movement happened at a time of increasing imperialist aggression against China and a sense of national crisis and the increasingly urgent historical requirement for national self-improvement, self-reliance and salvation.

'''The Pioneering Role of the Film ''Red Sorghum'''''

In today's era of new media, for many readers, they first come to the original work through an adaptation of the work, such as a film or television production. In other words, these readers get to know a literary work or a writer through a film or television work (Hao Dan 2019: 58). In fact, this is how foreign publishers and readers come to know Mo Yan and his ''Red Sorghum''. In 1988, the movie ''Red Sorghum'' directed by Zhang Yimou was released in Canada, the United States and other places. It is worth noting that not only the movie is adapted from Mo Yan's novel ''Red Sorghum'', but its screenwriting team also includes Mo Yan himself. In 1986, when Zhang Yimou decided to make the movie, Mo Yan only received 800 yuan in royalties and 1200 yuan in screenwriting fees. He would not have imagined that in the fifth year after the film's release (1993), the English translation of ''Red Sorghum'' would be published by Penguin Publishing in the United States, with a first printing of 10,000 copies. The number of its first printing is not large, but it is very rare for a contemporary Chinese writer in the early 1990s to have such a publishing opportunity and achievement in the United States. In addition, in 2004, when the American Arcade Press published Mo Yan's another work Big Breasts and Wide Hips, the publisher still mentioned the film ''Red Sorghum'' in the recommendation, which shows the role of the film in the dissemination of Mo Yan's novel.

It can be said that the translation and publication of the English translation of ''Red Sorghum'' is mainly based on the impressive international achievements of the film: in 1988, the film won the Golden Bear Award at the 38th Berlin International Film Festival, the Best Film Award, the Best Director Award, the True Novelty Award for feature films at the 5th Zimbabwe International Film Festival, the Film Critics Award at the 35th Sydney International Film Festival, the 1st Marseille International Film Festival in Morocco, and the Golden Bear Award for the Best Film at the 16th Brussels International Film Festival. In 1989, the film won the Best Film Award from the Radio Audience Jury at the 16th Brussels International Film Festival and the Silver Bear Award at the 5th Montreal World Film Festival in France; in 1990, the film was nominated for the annual prize of the GDR Filmmaker's Association for the ten best feature films of the annual Cuban Film Distribution Awards. Shortly after the film won the awards, Viking Penguin Press took the initiative to invite Howard Goldblatt to translate Mo Yan's ''Red Sorghum''. Of course, the translation of Mo Yan's work into English did not begin with ''Red Sorghum'', but prior to the award-winning film ''Red Sorghum'', Mo Yan's work had never been published in a single volume by a publisher in the English-speaking world.

'''Howard Goldblatt's Translation and Promotion'''

When it comes to the transmission of ''Red Sorghum'' in the English-speaking world, the contribution of its translator, Howard Goldblatt, cannot be overlooked. Howard Goldblatt is a well-known American sinologist and translator who has a high level of attainment in the study of contemporary Chinese literature, and has translated a large number of Chinese literary works. He was born in 1939 in California, USA. Later, while attending the U.S. Naval Officer's School, he was sent to serve in Taipei. While serving, Howard Goldblatt learned Chinese and read books to kill time, and gradually fell in love with Chinese culture. After studying Chinese at the National Taiwan Normal University for about a year, his Chinese language skills improved greatly. Later, he entered San Francisco State University and systematically studied Chinese language and literature. Because of his love for Chinese language and literature, He worked as a Chinese language teacher for one year after graduating with his master's degree. In order to continue to improve his Chinese language, he entered the Department of East Asian Languages at Indiana University to pursue a PhD in Chinese literature. In 1984, with his active leadership and assistance, ''Modern Chinese Literature'', a scholarly journal devoted to Chinese literature, was launched, with Howard Goldblatt as editor-in-chief, giving readers in the English-speaking world the opportunity to read Chinese literature, which contributed greatly to the promotion of Chinese literature.

As a confidant of Chinese literature, Howard Goldblatt has never stopped studying and translating Chinese literature for more than thirty years. His profound knowledge of both Chinese and English, good knowledge of Chinese literature, keen literary insight, and excellent translation skills have contributed to the achievement of Mo Yan, who was awarded the Nobel Prize for Literature, as well as to the dissemination of Chinese literature in the world and to the equal dialogue with world literature.

After Mo Yan won the Nobel Prize, almost everyone said that it was the translator Howard Goldblatt who made Mo Yan a success, and this is not an exaggeration. In terms of the text itself, there are two conditions for a work of contemporary Chinese literature to get the attention of publishers in English-speaking countries: one is a good story, and another is an authentic translation. A well-told story is a response to the cultural psychology and reading habits of the target readers. A good translation is very important in the translation of Mo Yan's works, because most of Mo Yan's novels have a unique Chinese historical background and profound Chinese traditional cultural connotation. Although he is known to the world literary world as a "storyteller", if the translator fails to translate the Chinese history and culture implied behind the Chinese language as effectively as possible into a language that can be understood by English-speaking readers, the transmission and popularity of these works will be difficult to achieve.

'''The Role of Publishing Brokers and Houses'''

For the works of Chinese writers to spread overseas, they must be supported and promoted by authoritative publishing brokers and publishing companies. The reason why Mo Yan's ''Red Sorghum'' is so popular in English-speaking countries is the support of his publishing agent team and Arcade Publishing.

Beijing Genuine&Profound Culture Media Co.,LTD.(hereinafter referred to as "Genuine&Profound") actually plays the role of a copyright agent for Mo Yan's works, responsible for developing the value of Mo Yan's works and planning the publication and distribution of Mo Yan's works. As the book publishing industry becomes more open and free, contemporary Chinese writers have had more knowledge of the publishing market, and some of them have realized the importance of publishing agents. A publishing agent, often called a copyright agent, is a middleman or intermediary that connects a work with a publisher. A publishing agent signs a copyright agency contract with a writer, and then helps the writer find a publishing platform for the work or an opportunity to exploit subsidiary rights related to the work. The services of a publishing agent are what Genuine&Profound provides for Mo Yan.

The uniqueness of Genuine&Profound lies in the fact that it has proposed the business model of "360°celebrity brokerage" for the first time in the industry. This service includes paper book publishing, digital rights management and promotion, promotion of film and television rights of literary works, brokerage of famous artists' artworks, promotion of famous artists' business and social activities, provision of artwork trading platforms, development and sales of derivatives, and legal protection of rights. With respect to Mo Yan's works, it believes that the value of Mo Yan is not only reflected in the publication and distribution of his Chinese works, but also in the overseas publication rights of paper books, film and television adaptation rights, digital publication rights, sales rights of calligraphy works and other subsidiary rights related to them.

The man behind Arcade Publishing, which has published five titles of Mo Yan's works in English translation, is in fact Richard Seaver, Mo Yan's most important advisor in the American publishing world. Arcade Publishing was established by Richard Seaver in 1988 to publish fiction and non-fiction literature. After Richard's death in 2009, Arcade went bankrupt and was acquired by Pegasus Publishing in July of the following year, and relaunched in 2011 under the name Pegasus, with its main focus remaining the same and the addition of some art books (Hao Dan 2019: 59). Today, Arcade Publishing has published nearly 300 authors from over 30 countries. Arcade Publishing has always been a great admirer of Mo Yan's works, and the front page of Arcade's official website has for quite some time read: Arcade and Skyhorse congratulate Mo Yan on winning the 2012 Nobel Prize for Literature". Unfortunately, Richard passed away without waiting for Mo Yan to win the Nobel Prize, but his remarkable vision and solidity as a publisher have made him immortal.

===Conclusion===
Literary works that "go global" should have both universal and heterogeneous qualities in themselves. Universality can resonate with overseas authors, while the unique local characteristics of the works excite readers' interest (Zhang Lijun, Yu Huijun 2021: 92).

Another important factor in the success of Mo Yan's overseas distribution was mentioned earlier: the overseas influence of Zhang Yimou's film. The huge market for films often plays an excellent role in advertising and rapidly promotes the translation and publication of original literary works overseas. The spread and influence of contemporary Chinese literature and Chinese films overseas actually help each other. On the one hand, this shows that outstanding literary scripts are an important basis for the success of films; on the other hand, it also shows that successful film operations will produce a chain effect that can lead to a series of related cultural industries.

In addition, in the process of Chinese literature going global the selection of translation subjects is crucial. Local translators in China do not know enough about the reading habits of Western readers and lack in-depth research on the literary publishing market, so the dissemination of works translated by them is inevitably hindered abroad. In contrast, foreign sinologists have the unique advantage of being the ideal translators for Chinese literature to go global. Local Chinese translators are more likely to perceive Chinese characteristics and outstanding literary works, while the group of sinologists has a deeper understanding of the target language readership and dissemination. The advantages of both complement each other, thus promoting Chinese literature to go out better.

In addition, nowadays, in the context of globalization, it is also very important to establish a good relationship with foreign well-known publishing institutions. ''Red Sorghum'' was released by a well-known foreign publisher, so that it could be more widely known by its target readers. The most important thing is that major publishers can get a good understanding of the market, which is conducive to the dissemination of Chinese literature in the West.

The experience of the successful dissemination of ''Red Sorghum'' shows that for contemporary Chinese literature to go global, not only is there a requirement for the quality and cultural value of the work itself, but there is also a need for reliable translators and authoritative publishing partners.

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Bao Xiaoying鲍晓英. (2014) 中国文学“走出去”译介模式研究——以莫言英译作品美国译介为例[Study on the Translation and Communication Model for Chinese Literature Going Out—with the Communication of Mo Yan's English Translations in America as an Example][C]. Shanghai International Studies University上海外国语大学.

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Hu Anjiang胡安江. (2012) 再论中国文学“走出去”之译者模式及翻译策略——以寒山诗在英语世界的传播为例[The Translation Model and the Translating Strategy Revisited—with the Dissemination of Cold Mountain Poems in the English World as an Example][J]. ''外语教学理论与实践'' [Foreign Language Learning Theory and Practice] (4): 55-61.

Hao Dan郝丹. (2019) 莫言作品英译本的出版传播经验研究[A Study of the Publication and Dissemination Experience of Mo Yan's Works in English Translation][J]. ''对外传播'' [International Communications] (06): 58-60.

Liu Guozhi, Chi Changhai, Li Qingliu刘国芝，池昌海，李清柳. (2022) 英译小说《红高粱》在美国的传播与接受[Dissemination and Reception of the English Translation of Red Sorghum in America][J]. ''中国翻译'' [Chinese Translators Journal] 43(02): 59-66.

Wan Yu万聿. (2021) 中国当代文学英译概览与研究综述[Overview and Research Review of English Translation of Contemporary Chinese Literature][J]. ''复旦外国语言文学论丛'' [Fudan Forum on Foreign Languages and Literature] (02): 215-223.

Xu Jun许钧. (2012) 翻译研究之用及其可能的出路[Translation Studies in China: Its Functions and a Possible Direction for Its Further Development][J]. ''中国翻译'' [Chinese Translators Journal] (1): 5-12.

Xie Tianzhen谢天振. (2019) 译介学:理念创新与学术前景[Medio-translatology: Its Innovative Concepts and Academic Prospects][J]. ''外语学刊'' [Foreign Language Research] (04): 95-102.

Xu Wen徐稳. (2013) 全球化背景下当代中国文化传播的困境与出路[The Dilemma and Solution of the Advanced Culture Transmission under the Background of Globalization][J]. ''山东大学学报（哲学社会科学版）'' [Journal of Shandong University(Philosophy and Social Sciences)] (4): 96-103.

Xiao Yingying萧盈盈. (2012) 中华文化走出去的现状分析与发展思考[Analysis of the Current Situation and Development of Chinese Culture Going Out][J]. ''现代传播'' [Modern Communication] (1): 84-86.

Yu Hong于虹. (2021) 译介学与中国现当代文学在美国的翻译与传播[Medio-translatology and the Translation and Dissemination of Contemporary Chinese Literature in America][J]. ''外语学''刊 [Foreign Language Research] (02): 112-115.

Zhang Lijun, Yu Huijun张丽君，余慧君. (2021) 有声与无声——莫言《红高粱》海外传播的启示[Sound and Silence—Enlightenment of Mo Yan's Red Sorghum's Overseas Communication][J]. ''文化创新比较研究'' [Comparative Study of Cultural Innovation] 5(21): 89-92.

===Terms and expressions===
《红高粱家族》 ''Red Sorghum''

诺贝尔文学奖 the Nobel Prize for Literature

安德烈·勒菲弗尔Andre Lefevere

三要素理论 "three elements" (patronage, ideology and poetics)

葛浩文 Howard Goldblatt

文革 the Cultural Revolution

《枯河》 ''Dry River''

《天堂蒜薹之歌》 ''The Garlic Ballads''

企鹅出版公司 Penguin Publishing

《丰乳肥臀》 ''Big Breasts and Wide Hips''

柏林国际电影节 Berlin International Film Festival

津巴布韦国际电影节 Zimbabwe International Film Festival

悉尼国际电影节 Sidney International Film Festival

马拉什国际电影电视节 Mar del Plata Film Festival

布鲁塞尔国际电影节 Bruxelles International Film Festival

蒙彼利埃国际电影节 Montreal World Film Festival

《中国现代文学》 ''Modern Chinese Literature''

北京精典博维文化传媒有限公司 Beijing Genuine&Profound Culture Media Co.,LTD.

拱廊出版公司 Arcade Publishing

理查德·西维尔 Richard Seaver

===Questions===
1. What's the "three elements" put forward by Lefevere?

2. How many American books has China introduced in a year recently?

3. When was Mo Yan awarded the Nobel Prize in Literature?

4. Which novel is the most translated and reprinted work of Mo Yan?

5. How many stages are there in the history of contemporary Chinese literature in English-speaking countries?

6. What are the reasons for ''Red Sorghum's'' successful transmission?

===Answers===
1. Patronage, ideology and poetics.

2. About 150.

3. On October 11, 2012.

4. ''Red Sorghum''

5. Four.

6. The literary value of the work itself; the pioneering role of the film ''Red Sorghum''; Howard Goldblatt's translation and promotion; the role of publishing brokers and houses.

20220630 Culture 5

2022-07-06T14:08:30Z

Liu Shuangying: /* 英语笔译刘双英 Liu Shuangying 202170081585 */

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

==This is the final exam paper website no. 5==
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]

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

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

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Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.

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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.

Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.

Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.

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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.

Vermeer, H. Skopos Theory of Translation[M]. 1996.

Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.

Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.

Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.

Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.

Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.

Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.

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==英语笔译刘乐乐 Liu Lele 202170081584==
Chinese Online Fantasy Novels：A comparison Between Dragon Raja and Harry Potter
Liu Lele
===Abstract===
Harry Potter and Dragon Raja, two famous fantasy novels, are similar in many ways including plots, character settings and so on. Since the former is famous across the world while the latter have not been translated from Chinese into English yet, we can learn a lot sentence patterns, phrases, and words from Harry Potter when translating Dragon Raja into English.
===Key words===
Dragon Raja; translation material; communication; fantasy
===Introduction===
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.
===Similarities===
Harry Potter starts from the family of Mr. Dursley, the husband of the main character Harry Potter’s aunt, and Dragon Raja also starts from the family of Mr. Lu Gucheng, the uncle of the main character Lu Mingfei.

There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.

In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.

Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.

Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon Raja", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a loser in Dragon Raja. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.

In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.

Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.
===Differences===
As mentioned above, Harry Potter has a lot in common with Dragons, but that doesn't prevent both books from being excellent fantasy novels. Although there are many similarities between the two works at first glance, there are fundamental differences between the two works
"Harry Potter" is mainly based on the British or European wizard culture as the creation, describes an imaginary magical world. The Dragon Race, on the other hand, mainly creates a dragon world based on Nordic mythology. While Harry Potter is full of wizarding legends and English history, Dragons is based on Norse mythology, but mostly borrows from names and allusions.

Most of the stories in harry Potter take place at Hogwarts, so the rest of the books are very brief. Dragons takes place everywhere, not just at Castle College.

In both books, there are special groups with superpowers, wizards and dragon hybrids. But their lifestyles are totally different. Wizards are more isolated and do not generally interact with Muggles; Hybrids, on the other hand, are hidden in the secular world and hold impressive secular power. And when dealing with enemies, wizards can only use magic, which means that only magic can defeat magic in the Harry Potter worldview. In Dragon Race, the hybrids are very willing to use the power of technology. Science is very important in Dragon Race, and the hybrids are always looking for the combination of dragon power and science.

The ultimate villains in Harry Potter are pure-blood believers led by Lord Voldemort, but they still belong to wizards. As far as dragons are concerned, the villains are dragons. Simply put, the villains in Harry Potter are wizards, while the villains in Dragons are other races. Those who are not of our kind have different hearts. So Dragons as a whole reads more murder and hatred than Harry Potter.

Harry Potter is a fairy tale with strong religious significance in essence. There are many fairy tale elements and religious metaphors in it, and more of them are religious thinking to persuade people to be good. "Dragon Raja" is a secular novel for young people from the beginning, most of which is about the discussion of common people themselves.

In Harry Potter, because it is the essence of fairy tale, the protagonist is naturally good, while the villain is naturally evil. The definition of good and evil is very simple and crude. In The Dragon Clan, it seems that the dragon clan is the villain, but the dragon clan described in the book is not necessarily evil. The confrontation between the hybrid and the dragon clan is more for survival status than good or evil.

In fact, there are many differences between the two works. For example, Lumingfield is more close to ordinary people and easier for us to relate to, while Harry is more like imaginary characters.
===Borrowing from Similarities===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

3.1Sentence Patterns
(1)The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。
In Dragon Raja, it is the same case. So we can translate the above sentence into:
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.

(2)Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...
这也许是杜斯礼一家搞的恶作剧？
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt. So we can translate the above sentence into:
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?

3.2 Phrases
(1)A deafening shout：震耳欲聋
Both in Harry Potter and in Dragon Raja, there’s people like shouting at the main characters, so we can use this phrase to make a vivid description of it.
(2)Questions exploded inside Harry’s head like fireworks.
These two words , “Explode” and “Fireworks”, together constitutes an lively description of the scene. Lu Mingfei was loaded with questions in his head when starting to know everything about dragons, which sounds unbelievable in the real world.

(3)The rattling cart火车咔嗒响。
Both Harry Potter and Dragon Raja have their special trains lead to the schools. So when depicting the sound a train makes in its way, we can use this phrase.

3.3 Words
Since both of the two are novels, when doing translating, we can meet a lot dialogues, which means the Chinese character--”说(said)” will need various substitutions. Besides, there are many descriptions of movements and expressions. Both these words can be very tricky when doing translating. Fortunately, Harry Potter offers various translations of them.

3.3.1 Words to describe the act of speaking(说）
(1) ...Harry asked urgently.
急忙问道，急切问道。
(2) ...said the boy, with a slight sneer.
男孩冷笑道(3)...said the pale boy carelessly,
男孩面色苍白，漫不经心地说
(4) ...he began
他开始说到
(5)...asked politely
礼貌地问
(6)...asked Seamus with great interest.
饶有兴趣地问
(7)...he said coolly
他冷冷地说

3.3.2 Movements and Expressions
(1) waves merrily at him
开心地朝他招手。
(2) sneaking to the kitchen for some food
溜进厨房找东西吃
(3) collapsed into a chair
一屁股坐下
(4) made both of them jump
两个人都吓了一跳
(5) hamming on the door to wake you up.
捶门叫她起床
(6) drumming their fingers on the glass
手指在玻璃上敲击
(7)his stomach rumbling with hunger
肚子咕咕叫
(8) Harry sighed and stretched out on the bed
哈利叹了口气，在床上躺成“大”字形
===Application in translating===
大脸猫头像跳闪，“诺诺”上线。
The profile of a big-face cat flickered, which means NONO got online.
路明非犹豫了一下，“是你？”
“Is that you?”hesitated a little, Lu Mingfei asked
“嗯，陈墨瞳。”诺诺的回答显得懒洋洋的，“没事上来打两盘。”
“Yeah,it’s me, Chen Motong.”She said carelessly,”Got no better things to do than some gaming.”
“你怎么知道我的ID？”
“How did you get my ID?”
“人肉搜索啊，嘿。你居然用‘明明’这种ID，像女孩似的，还有‘夕阳的刻痕’……你是人妖么？”
“Cyber manhunt. Hey, you took Mingming as your ID. Girlish! And “sunset”,are you sure you are not a ladyboy?
“这都能人肉到？千万保密，那是我来逗我弟玩的。”
“You even knew this?! Please keep this secret for me. That’s for playing some little tricks on my cousin.”
“开玩笑的啦，诺玛搜索到的，这对诺玛小菜一碟。你星际打得不错。”
“Just joking. It’s Noma, our intelligent computer, that got all this information. It’s a piece of cake for her. By the way, you are good at Starcraft.”
“行了，我都输给你了。”
“Come on, I lost to you.”
“是我输，诺玛和我一起打的，我们两个控制一家。最后我知道你在升三级基地，因为诺玛偷偷开了地图，看见了。”
“I should be the loser. I played the game with the help of Noma.
“作弊死全家！”路明非打出这句话。
“Cheaters will have his family completely died.” Lu Mingfei type this sentence.
只是随手，这话在群里大家随便说，没谁真的往心里去。
It’s just an online phrase that were often used and no one would take it seriously.
“我家只有我一个人。”诺诺回复。
“I’ve already got no family to lose.”answered Nono.
路明非愣了一下，“对不起。”
Lu Mingfei was stunned a little, and said,”sorry.”
“这有什么对不起的？”诺诺答得很平淡，“玩一盘？”
“Nothing to feel sorry about.”Nono said carelessly still,”Want a game?”
“没心情。”
“not in the mood.”
“失恋了？”
“Broke up with your girlfriend?”
路明非浑身一个激灵，诺诺像是个小巫婆似的，看穿了他的一切，叫他完全无处容身。
“Lu Mingfei was shocked. Nono’s like a little wizard, seeing through everything of him.He could hide nothing in front of her.
“还没有……我没有女朋友，当然不会失恋了，姐姐你想怎样啊？”他输入。
“How can I break up with my girlfriend when I don’t have a one? So what do you want? Big sister!”He typed.
“姐姐叫得还蛮甜的，”诺诺扔出一个龇牙咧嘴的笑脸，“来吧，说说到底怎么回事，我也许能帮上忙。”
“That’s sweet.”Nono sent him a grinning smile,”Alright, let’s hear it.Maybe I can help you.”
“你帮什么忙？你又不认识她。”
“I doubt that.You don’t know about her.”
“我是不认识陈雯雯。”小巫婆诺诺回复得极快。
“Yeah, I do know nothing about Chen Wenwen.”
“你到底知道多少？”路明非忽地很惊恐。
“How much do you know?”Lu Mingfei suddenly got frightened.
“太多了。”
“too much.”
“你们……到底是谁？”路明非手有点抖。
“Who are you?”Typed Lu Mingfei with trembling fingers.
(1) 路明非在屏幕上无奈地打出“GG”（“GG”，指“Good Game”，在竞技类游戏中称赞对方玩得好，也是认负的意思），而后切出了游戏。屏幕上显示的最后一个场景，是十二艘人类巡洋舰以华丽的大和炮聚焦射击，把他的母巢化作了一滩血水。
Lu mingfei reluctantly typed "GG" (" GG "refers to" Good Game "in a competitive Game) on the screen before cutting out the Game. The final scene shown on the screen was twelve human cruisers firing in focus with their magnificent Yamato guns, turning his brood into a pool of blood.
(2) 他输掉了今天的第六局，胜负比例是零比六，这一次他坚持到了22分23秒才被拿下，不过最终还是被拿下了，对方的微操很好，用的又是人类，人类的机枪兵在这个游戏里是个变态的兵种，出枪速度为零，站住了拔枪就射，收枪就跑，路明非的小狗追不上，在路上就一只只被打爆了。
He lost his game for today 6-0，with round 6 hanging/lasting for 22 minutes 23 seconds. His opponent is very good at micro control, with the use of Terran whose riflemen，capable of shooting in an instant，is extremely strong in the game. stood still pull out a gun shoot, gun ran, Lu MingFei's puppy can catch up, thus getting beaten up one by one.
路明非没啃声儿，切到QQ上，那个戴棒球帽的女孩头像还是灰色的，一动不动。对方没上线，又白等了。他抓了抓脑袋，有点失望。另一个头像倒是跳了起来，是个长得很欠的熊猫。
Lu Mingfei did not answer. Switch into QQ, the profile of a girl wearing a baseball cap stayedgray and quiet there. She wasn't online, and he was just waiting for nothing. Scratching his head, he felt a little upset. The other profile was active though，a very disturbing panda.
===Conclusion===
Both Dragon Raja and Harry Potter are great fantasy novels. Dragon Raja has only been enjoyed in China, which to some extent is because it has no other versions than Chinese ones. Harry Potter has both attracting languages and similar plots with Dragon Raja, so there are things can be learned from it.
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==英语笔译刘双英 Liu Shuangying 202170081585==

'''The Devlopment and Dissemination of Chinese Ceramic Culture'''
===Abstract===
===Key words===
===Introduction===
As China's national strength continues to rise, its economy is growing rapidly, but traditional Chinese culture has not yet been well spread. China was one of the first countries to make pottery, and the birthplace of porcelain. From the current archaeological excavations, the earlist ceramics may be the porcelain products created by primitive people when they found that clay was pounded into mud and coated on a container consisting of grass and wood, and the mud would no longer dissolve in water after firing, and soon they started learning to make objects using only clay.(Guo Yue&Song Lili 2022, 31）
The ceramic culture explored in this paper has a long history, but with the development of the times, today's Chinese ceramic culture is far less flourish than in the past. At a time when the country is vigorously promoting cultural outreach and enhancing cultural confidence across the board, it is especially important to reinvigorate ceramic culture and strengthen the development and dissemination of Chinese ceramic culture. People from other countries in the world do not yet know much about traditional Chinese culture, especially in some specialized fields, such as the pottery-making techniques in ceramic culture, and sometimes the knowledge and terminology in these fields are not well understood by our own Chinese laymen as well, who only know some very basic and superficial things. Foremostly, we have to understand its intrinsic cultural connotation and unique historical value before we can plan for its way out and prepare for its revitalization. Therefore, the dissemination of these traditional cultures requires more effort, time and energy to get out of the country, catering to the strategy of "Chinese culture going out" as stated by General Secretary Xi Jinping, which is also of great practical significance to the Chinese dream of the great rejuvenation of the Chinese nation. Only when the economy and culture develop together, and the most characteristic industries of the nation are exported to the outside world, so that more people can understand its unique characteristics, can a country be truly strong and respected by the world.

===The connotation of ceramic culture===
Ceramics is a general term for pottery and porcelain, and ceramics itself is a kind of arts and crafts, as well as a folk culture, which can be seen in folk and temple in ancient times. Mr. Chen Yuqian combined the practicality and aesthetics of ceramics, the unity of science and technology and plastic art and regional factors to define ceramic culture: the essence of ceramic culture actually refers to the various types of cultural connotations embodied in the process of production to display and sale of ceramics.（Hong Lin 2018, 07）Traditional ceramic culture, commonly speaking, is the way of inheritance preserved by the ancestors of the Chinese nation in the production of ceramics, making objects. It is the evolution of ancient Chinese traditional thought, with local folk customs as the core, reflecting the aesthetic ideas of the people, the pleasure of life and the laws of formal beauty at that time.（Wang Fang 2017, 163）
In the light of the above opinions, I believe that ceramic culture includes not only the crafts of making various kinds of fine ceramics, but also the various ideas incorporated into porcelain by ancient working people when making ceramics. From the very beginning, ceramics were only designed for daily use, but later on, various carving techniques were developed, colors were enriched, painting and calligraphy were incorporated into ceramics, and so on, making ceramics more and more exquisite. And in different periods, ceramics show different appearance, and people's preferences for thier appearances and colors, for each stage of the unique image reflects the social landscape of the period, reflecting the rich historical stories behind the characteristics of the historical form of special periods, such as the famous ceramics of different historical periods, such as the Tang Dynasty’s "Tang Tri-Color Glazed Ceramics", the rich colors of the ceramics had changed the style of plain porcelain in the past, reflecting the openness and inclusiveness of the Tang Dynasty to a certain extent. There are many other famous ceramics of other dynasties that reflect the special connotation of the times and the temperament of the people. This is the ceramic culture hidden deeply in the ceramics, which is worthy of our study and learning, and should be vigorously inherited and developed, which is what our country has been advocating that we should stay true to cultural confidence, requiring the Chinese people to adhere to the excellent Chinese traditional culture and faith. It’s the pride of the advanced culture of socialism with Chinese characteristics. Ceramic culture is also something that should be spread vigorously in the new era, so that we can let more people obtain more specific information about China and enhance its the international status.

===Subtitle2===
===Subtitle2===
===Conclusion===
===References===

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

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===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Transmission of Contemporary Chinese Literature in English-speaking Countries: A Case Study of ''Red Sorghum'''''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===
In the globalization pattern of cultural pluralism and coexistence, it is the top priority of cultural construction and reform to enhance the global influence of Chinese culture and spread and promote Chinese culture to the world. It is our goal to promote Chinese culture to go global, and the translation of Chinese literature into foreign languages is an important means to achieve this goal. However, this process is not always smooth, and as the process of "going global" in China is hindered, people gradually realize that many factors other than the act of translation are affecting the "going global" of Chinese culture.

Mo Yan is a leading figure in contemporary Chinese literature, and after winning the Nobel Prize for Literature, the attention and sales of his works abroad have increased dramatically. At a time when translations of Chinese contemporary literature have repeatedly suffered setbacks, the successful translation of Mo Yan's novels has sounded the trumpet of victory. This paper analyzes the importance, current situation and reasons for the "going global" of contemporary literature with reference to Andre Lefevere's theory of "three elements" (patronage, ideology and poetics), and studies the successful translation of Mo Yan's masterpiece ''Red Sorghum'' overseas. The study of the successful translation of ''Red Sorghum'' overseas, and the exploration of the effective translation mode of contemporary literature in China, are hoping to contribute to Chinese contemporary literature's going global.

===Key words===
contemporary Chinese literature; transmission; ''Red Sorghum''

===Introduction===
With the further development of globalization, it is no longer a pure economic phenomenon. What accompanies economic globalization is political globalization and the exchange, collision and integration of "soft power" with cultural ideas, ideologies and values as its basic connotation across national borders. Culture is an important symbol of a country's soft power and plays an increasingly prominent role in the competition for comprehensive national power. The globalization of cultural communication has become a social reality that cannot be ignored. (Xu Wen 2013: 96) Different countries, nationalities and cultures want to communicate with each other, so that cultural communication can break through the original national boundaries and geographical restrictions, and eventually get out of the narrow and prejudiced national culture and gain recognition in the global scope.

The "going global" of Chinese culture has been elevated to a national strategic level, and the translation of contemporary Chinese literature, as an important carrier of culture, has assumed the primary task. However, it must be admitted that Chinese literature in general is still in a marginal position in the field of world literature. From the overall situation of translation and dissemination of Chinese contemporary literature, the problems of poor quality of translation, few number of publications, and low overseas acceptance are very prominent. According to statistics, during the nearly 110 years from the beginning of 1900s to the beginning of 2000s, China translated and introduced about 100,000 Western books, while the West introduced less than 500 Chinese books. In recent years, China has introduced about 150 American books in a year, while the United States has imported less than 10 Chinese literary works. (Bao Xiaoying 2015: 80) There is an obvious imbalance between the export and import of literature. Thus, it is clear that there is a long way to go for Chinese contemporary literature to "go global".

On October 11, 2012, Mo Yan was awarded the Nobel Prize in Literature, becoming the first Chinese writer to win the Nobel Prize in Literature. Since then, the popularity of contemporary Chinese literature in the world literary scene has increased dramatically, more readers from abroad have begun to pay attention to the works of contemporary Chinese writers, and the attention of overseas academic circles has also begun to focus on Chinese literature. This has offered a good opportunity for Chinese contemporary literature to go global, and also put forward new ideas for the study of translation and dissemination of Chinese contemporary literature overseas.

Since 1988, Mo Yan’s works have been translated into English, French, Spanish, German, Swedish, Russian, Japanese and other languages. As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. At the same time, as the first novel to be translated overseas and immediately gain acclaim and access to Western commercial channels, ''Red Sorghum'' has set a model for the translation and transmission of contemporary Chinese literature.

This paper takes Howard Goldblatt's translation of ''Red Sorghum'' as a case study to examine the overseas transmission and acceptance of this translation on the basis of previous studies, so as to provide some inspiration for the transmission of contemporary Chinese literature. Due to the limitations of language, this paper will only talk about the translation and transmission of contemporary Chinese literature in English-speaking countries.

===The Importance of Contemporary Chinese Literature Going Global===
Culture has always been an important factor affecting national competitiveness. All major countries in the world have made the improvement of their culture an important national development strategy. Every country, nation and culture wants to exchange with each other, so that their culture can break through the original national boundaries and geographical restrictions and achieve a wider and deeper dissemination. At present, "Chinese literature going global" is flourishing, and the translation of Chinese literature has become an important part of spreading Chinese culture (Bao Xiaoying 2013: 62). Since the 21st century, China has devoted itself to the translation and interpretation of Chinese literature, and has launched a series of publication projects on the translation and dissemination of Chinese literature. At the same time, many journals of Chinese literature in English translation have been established to promote contemporary Chinese literature to the English-speaking world (Yu Hong 2021: 112).

Culture is an important symbol of a country's "soft power" and a symbol of its influence and cohesion. Culture as a soft power plays an increasingly prominent role in the competition for comprehensive national power. Culture has always been an important factor in national competitiveness. Having a strong "cultural soft power" means being able to win the initiative in the fierce international competition. Without cultural soft power, a country has no connotation, no support, and cannot become a real major country.

The strategy of "going global" of Chinese culture was first proposed in the mid-1990s. The "going global" strategy is a major initiative in the new stage of opening up to the outside world. Since then, the "going global" strategy has been expanded from the economic field to the cultural field, and relevant documents have been issued one after another.

Chinese culture "going global" has two basic meanings: First, it is the dissemination of Chinese cultural ideas and cultural forms to the world through cultural exchange. Second, it refers to the export of cultural products and services in international trade (Xiao Yingying 2012: 84). Compared with developed countries in the West, China has a serious "cognitive deficit" in cultural trade, from ideas, cultural symbols to cultural products, and many countries still have a fragmented, one-sided and superficial understanding of Chinese culture. China's economy is growing, but it is still in a weak position in terms of cultural soft power, such as cultural communication and influence, and cultural weakness, which can only be solved by developing cultural industries and communicating with other cultures (Bao Xiaoying 2014: 7).

Communication is the nature of culture, through which different cultures can be perceived. In today's globalization, cross-cultural communication affects people's thought and behavior from different aspects. Translation has always played a very important role in the process of intercultural communication. Translation is not only the conversion of language, but also the transmission of culture. Translation can spread new ideas, new concepts and new technologies, promote cultural exchange and progress, as well as promoting the common development of different cultures. Throughout the history of Chinese and foreign cultures, it is evident that translation has played a great role in spreading cultures in the world. Translation has greatly enriched the exchange and dissemination of Chinese and foreign ideas.

Above all, translation bridges the language barrier between different cultural societies, contributes to the exchange and interaction of cultural information with other countries, facilitates the common development of national cultures, and promotes the sharing of human civilization. "The development within a country and the establishment of its international status depend largely on cultural soft power, and cultural soft power, whether imported or exported, is, in our opinion, first and foremost a translation issue." (Xu Jun 2012: 12) The current strategy of "going global" of Chinese culture advocated by the Chinese government is, in a small way, to export our "cultural soft power" through the power of "translation", and in a larger way, to enhance China's "international status" (Hu Anjiang 2012: 56).

The translation, publication and dissemination of Chinese literature have become an important part of China's cultural outreach. The world needs to observe China through Chinese literature, and China needs to show its true image through literature. Without the role of translation as a medium and without the outreach of translated texts, the outreach of Chinese culture will only be empty talk. It has always been the goal of the country to promote the "going global" of Chinese culture through the translation of Chinese classics (Bao Xiaoying 2013: 54).

===Transmission of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present) (Wan Yu 2021: 220).

In the first stage, China had fewer exchanges with English-speaking countries due to political-ideological conflicts. As a result, relatively few foreign-led publications of contemporary Chinese literature were published during this phase. In the first stage, contemporary Chinese literature translated to English-speaking countries focused more on social and political aspects than on literary aspects.

In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. Compared with the first stage, except for the selection of materials that glorified the revolution and took the working and peasant classes as the main characters in the early period of the founding of the PRC, the domestic publishing institutions were more strict about the themes of translated works during the Cultural Revolution. During this period, more works related to revolution and reflecting class struggle came to the English-speaking countries.

In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some works of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions didn't pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. Meanwhile, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak.

Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than publicity; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and markets. The English-speaking world, Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

Since Mo Yan was awarded the Nobel Prize for Literature, a large amount of Chinese literature, represented by his works, has been translated into the United States and other parts of the world. However, data show that translated works account for only 3% of the total number of publications in the United States, of which less than 1% are literary translations, indicating that the American public does not have an urgent and strong intrinsic need for foreign literature and culture (Xie Tianzhen 2019: 95).

===The Successful Transmission of ''Red Sorghum''===
'''Brief Introduction to ''Red Sorghum'''''

''Red Sorghum'' is a long novel written by Mo Yan, divided into five chapters: ''Red Sorghum'', ''Sorghum Wine'', ''Dog Ways'', ''Sorghum Funeral'', and ''Strange Death''. The five chapters were first published as novellas, of which ''Red Sorghum'' was first published in ''People’s Literature'' in 1986.

''Red Sorghum'' is a family saga of Yu Zhan-ao and Dai Fenglian(identified as Granddad and Grandma from a boy’s perspective), covering their romance, their spontaneous resistance against the Japanese invaders between 1939 and 1941. This novel is set in the fields of dense, tall, red sorghum plants in Northeast Gaomi Township, Shandong Province, China, hence the title ''Red Sorghum''. ''Red Sorghum'' is a classic work that shows the tenacity and national spirits of the Gaomi people in the Anti-Japanese war.

'''Translation and Transmission of ''Red Sorghum'''''

In 1988, Mo Yan’s work ''Dry River'' was first translated and published in Japan, and in 1999, a total of 54 foreign translations of Mo Yan’s works were published during the 11 years, focusing on three works: ''Red Sorghum'', ''Red Sorghum'' and ''The Garlic Ballads''. A total of 30 overseas publications of ''Red Sorghum'' and ''Red Sorghum'' accounted for nearly 60% of the total overseas publications of Mo Yan’s works during this period.

As Mo Yan’s masterpiece, ''Red Sorghum'' was earlier translated and introduced to other countries, and is also the most translated and reprinted Mo Yan’s work. Compared to most Chinese literary works that do not sell well overseas, the sales of ''Red Sorghum'' are more optimistic. According to scholar Bao Xiaoying’s statistics, the English version of ''Red Sorghum'' was published in 1993 and sold more than 50,000 copies in a dozen years, which is not bad sales.

A very important indicator of the reach of a Chinese work of literature in the United States is the number of U.S. libraries that collect the work. If the number of U.S. libraries collecting the work is high, it means that the work is widely distributed in the United States, and vice versa (Liu Guozhi, Chi Changhai. Li Qingliu 2022: 60).

According to the table of the top 10 ranking of the dissemination of English-translated Chinese contemporary novels published in the United States, it can be seen that the English-translated novel ''Red Sorghum'' ranks third overall among the Chinese contemporary novels published and disseminated in the United States. It can be said that ''Red Sorghum'' is the most widely distributed Chinese contemporary novel in the United States. Table 2 shows the collections of public and community libraries and libraries of universities and research institutions in different states. It also shows the ranking and distribution of the top ten states in the United States for the distribution of the novel ''Red Sorghum'' in English translation. Six of the top ten states have more than 40% of the public and community libraries collecting ''Red Sorghum'': 50% in Ohio, 49.23% in Illinois, 48.92% in California, 43.90% in Florida, 43.24% in North Carolina, and 41.27% in Texas, with Ohio accounting for half of the public and community libraries. . These data indicate that the Chinese contemporary novel ''Red Sorghum'' has entered public and community libraries in the U.S., showing that the structure of Chinese contemporary fiction distribution and readership in the U.S. is changing, shifting from its previous distribution primarily in universities and research institutions to the general public. (Two tables mentioned cannnot be uploaded)

'''The Reasons for ''Red Sorghum's'' Successful Transmission'''

The popularity of ''Red Sorghum'' overseas was made possible by many factors. The film of the same name is the pioneer. Thanks to the award-winning film, the translation and dissemination of the novel was promoted overseas. Coupled with the unique perspective and content of the work itself, and the translator Howard Goldblatt’s promotion and personalized translation, the successful transmission of this work was achieved.

'''The Literary Value of the Work Itself'''

Mo Yan, born in 1956 in Gaomi County, Shandong Province. ''Red Sorghum'' is based on the life of his hometown during the anti-Japanese war. Unlike other anti-Japanese literature, Mo Yan's anti-Japanese story is told from the perspective of ordinary people, which is more real and deeper. Mo Yan's literary works often portray original life with bold, mischievous depictions that resonate strongly with readers and shock them. In this novel, there is both questioning and rebellion against existing traditional values, as well as profound analysis of feudal ethics and human nature.

The theme of ''Red Sorghum'' is not only to promote the idea of living a bold, emancipated and frank life, but also to celebrate the patriotic spirit of the heroic resistance to Japan. The so-called "personality liberation" refers to the liberation of the "human" personality. Human being" is the unity of "spirit" and "flesh", "divinity" and "bestiality", "spirit" and "matter", "social man" and "natural man". Man has a "natural human nature", that is "human's" survival instincts and natural desires.

The novel ''Red Sorghum'' not only promotes the liberation of individuality, but also celebrates the tenacity and sacrificial spirit of anti-Japanese patriotism. This dual theme of enlightenment and salvation in literature is an inheritance of the May Fourth tradition. Both the May Fourth movement and the New Culture Movement happened at a time of increasing imperialist aggression against China and a sense of national crisis and the increasingly urgent historical requirement for national self-improvement, self-reliance and salvation.

'''The Pioneering Role of the Film ''Red Sorghum'''''

In today's era of new media, for many readers, they first come to the original work through an adaptation of the work, such as a film or television production. In other words, these readers get to know a literary work or a writer through a film or television work (Hao Dan 2019: 58). In fact, this is how foreign publishers and readers come to know Mo Yan and his ''Red Sorghum''. In 1988, the movie ''Red Sorghum'' directed by Zhang Yimou was released in Canada, the United States and other places. It is worth noting that not only the movie is adapted from Mo Yan's novel ''Red Sorghum'', but its screenwriting team also includes Mo Yan himself. In 1986, when Zhang Yimou decided to make the movie, Mo Yan only received 800 yuan in royalties and 1200 yuan in screenwriting fees. He would not have imagined that in the fifth year after the film's release (1993), the English translation of ''Red Sorghum'' would be published by Penguin Publishing in the United States, with a first printing of 10,000 copies. The number of its first printing is not large, but it is very rare for a contemporary Chinese writer in the early 1990s to have such a publishing opportunity and achievement in the United States. In addition, in 2004, when the American Arcade Press published Mo Yan's another work Big Breasts and Wide Hips, the publisher still mentioned the film ''Red Sorghum'' in the recommendation, which shows the role of the film in the dissemination of Mo Yan's novel.

It can be said that the translation and publication of the English translation of ''Red Sorghum'' is mainly based on the impressive international achievements of the film: in 1988, the film won the Golden Bear Award at the 38th Berlin International Film Festival, the Best Film Award, the Best Director Award, the True Novelty Award for feature films at the 5th Zimbabwe International Film Festival, the Film Critics Award at the 35th Sydney International Film Festival, the 1st Marseille International Film Festival in Morocco, and the Golden Bear Award for the Best Film at the 16th Brussels International Film Festival. In 1989, the film won the Best Film Award from the Radio Audience Jury at the 16th Brussels International Film Festival and the Silver Bear Award at the 5th Montreal World Film Festival in France; in 1990, the film was nominated for the annual prize of the GDR Filmmaker's Association for the ten best feature films of the annual Cuban Film Distribution Awards. Shortly after the film won the awards, Viking Penguin Press took the initiative to invite Howard Goldblatt to translate Mo Yan's ''Red Sorghum''. Of course, the translation of Mo Yan's work into English did not begin with ''Red Sorghum'', but prior to the award-winning film ''Red Sorghum'', Mo Yan's work had never been published in a single volume by a publisher in the English-speaking world.

'''Howard Goldblatt's Translation and Promotion'''

When it comes to the transmission of ''Red Sorghum'' in the English-speaking world, the contribution of its translator, Howard Goldblatt, cannot be overlooked. Howard Goldblatt is a well-known American sinologist and translator who has a high level of attainment in the study of contemporary Chinese literature, and has translated a large number of Chinese literary works. He was born in 1939 in California, USA. Later, while attending the U.S. Naval Officer's School, he was sent to serve in Taipei. While serving, Howard Goldblatt learned Chinese and read books to kill time, and gradually fell in love with Chinese culture. After studying Chinese at the National Taiwan Normal University for about a year, his Chinese language skills improved greatly. Later, he entered San Francisco State University and systematically studied Chinese language and literature. Because of his love for Chinese language and literature, He worked as a Chinese language teacher for one year after graduating with his master's degree. In order to continue to improve his Chinese language, he entered the Department of East Asian Languages at Indiana University to pursue a PhD in Chinese literature. In 1984, with his active leadership and assistance, ''Modern Chinese Literature'', a scholarly journal devoted to Chinese literature, was launched, with Howard Goldblatt as editor-in-chief, giving readers in the English-speaking world the opportunity to read Chinese literature, which contributed greatly to the promotion of Chinese literature.

As a confidant of Chinese literature, Howard Goldblatt has never stopped studying and translating Chinese literature for more than thirty years. His profound knowledge of both Chinese and English, good knowledge of Chinese literature, keen literary insight, and excellent translation skills have contributed to the achievement of Mo Yan, who was awarded the Nobel Prize for Literature, as well as to the dissemination of Chinese literature in the world and to the equal dialogue with world literature.

After Mo Yan won the Nobel Prize, almost everyone said that it was the translator Howard Goldblatt who made Mo Yan a success, and this is not an exaggeration. In terms of the text itself, there are two conditions for a work of contemporary Chinese literature to get the attention of publishers in English-speaking countries: one is a good story, and another is an authentic translation. A well-told story is a response to the cultural psychology and reading habits of the target readers. A good translation is very important in the translation of Mo Yan's works, because most of Mo Yan's novels have a unique Chinese historical background and profound Chinese traditional cultural connotation. Although he is known to the world literary world as a "storyteller", if the translator fails to translate the Chinese history and culture implied behind the Chinese language as effectively as possible into a language that can be understood by English-speaking readers, the transmission and popularity of these works will be difficult to achieve.

'''The Role of Publishing Brokers and Houses'''

For the works of Chinese writers to spread overseas, they must be supported and promoted by authoritative publishing brokers and publishing companies. The reason why Mo Yan's ''Red Sorghum'' is so popular in English-speaking countries is the support of his publishing agent team and Arcade Publishing.

Beijing Genuine&Profound Culture Media Co.,LTD.(hereinafter referred to as "Genuine&Profound") actually plays the role of a copyright agent for Mo Yan's works, responsible for developing the value of Mo Yan's works and planning the publication and distribution of Mo Yan's works. As the book publishing industry becomes more open and free, contemporary Chinese writers have had more knowledge of the publishing market, and some of them have realized the importance of publishing agents. A publishing agent, often called a copyright agent, is a middleman or intermediary that connects a work with a publisher. A publishing agent signs a copyright agency contract with a writer, and then helps the writer find a publishing platform for the work or an opportunity to exploit subsidiary rights related to the work. The services of a publishing agent are what Genuine&Profound provides for Mo Yan.

The uniqueness of Genuine&Profound lies in the fact that it has proposed the business model of "360°celebrity brokerage" for the first time in the industry. This service includes paper book publishing, digital rights management and promotion, promotion of film and television rights of literary works, brokerage of famous artists' artworks, promotion of famous artists' business and social activities, provision of artwork trading platforms, development and sales of derivatives, and legal protection of rights. With respect to Mo Yan's works, it believes that the value of Mo Yan is not only reflected in the publication and distribution of his Chinese works, but also in the overseas publication rights of paper books, film and television adaptation rights, digital publication rights, sales rights of calligraphy works and other subsidiary rights related to them.

The man behind Arcade Publishing, which has published five titles of Mo Yan's works in English translation, is in fact Richard Seaver, Mo Yan's most important advisor in the American publishing world. Arcade Publishing was established by Richard Seaver in 1988 to publish fiction and non-fiction literature. After Richard's death in 2009, Arcade went bankrupt and was acquired by Pegasus Publishing in July of the following year, and relaunched in 2011 under the name Pegasus, with its main focus remaining the same and the addition of some art books (Hao Dan 2019: 59). Today, Arcade Publishing has published nearly 300 authors from over 30 countries. Arcade Publishing has always been a great admirer of Mo Yan's works, and the front page of Arcade's official website has for quite some time read: Arcade and Skyhorse congratulate Mo Yan on winning the 2012 Nobel Prize for Literature". Unfortunately, Richard passed away without waiting for Mo Yan to win the Nobel Prize, but his remarkable vision and solidity as a publisher have made him immortal.

===Conclusion===
Literary works that "go global" should have both universal and heterogeneous qualities in themselves. Universality can resonate with overseas authors, while the unique local characteristics of the works excite readers' interest (Zhang Lijun, Yu Huijun 2021: 92).

Another important factor in the success of Mo Yan's overseas distribution was mentioned earlier: the overseas influence of Zhang Yimou's film. The huge market for films often plays an excellent role in advertising and rapidly promotes the translation and publication of original literary works overseas. The spread and influence of contemporary Chinese literature and Chinese films overseas actually help each other. On the one hand, this shows that outstanding literary scripts are an important basis for the success of films; on the other hand, it also shows that successful film operations will produce a chain effect that can lead to a series of related cultural industries.

In addition, in the process of Chinese literature going global the selection of translation subjects is crucial. Local translators in China do not know enough about the reading habits of Western readers and lack in-depth research on the literary publishing market, so the dissemination of works translated by them is inevitably hindered abroad. In contrast, foreign sinologists have the unique advantage of being the ideal translators for Chinese literature to go global. Local Chinese translators are more likely to perceive Chinese characteristics and outstanding literary works, while the group of sinologists has a deeper understanding of the target language readership and dissemination. The advantages of both complement each other, thus promoting Chinese literature to go out better.

In addition, nowadays, in the context of globalization, it is also very important to establish a good relationship with foreign well-known publishing institutions. ''Red Sorghum'' was released by a well-known foreign publisher, so that it could be more widely known by its target readers. The most important thing is that major publishers can get a good understanding of the market, which is conducive to the dissemination of Chinese literature in the West.

The experience of the successful dissemination of ''Red Sorghum'' shows that for contemporary Chinese literature to go global, not only is there a requirement for the quality and cultural value of the work itself, but there is also a need for reliable translators and authoritative publishing partners.

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===Terms and expressions===
《红高粱家族》 ''Red Sorghum''

诺贝尔文学奖 the Nobel Prize for Literature

安德烈·勒菲弗尔Andre Lefevere

三要素理论 "three elements" (patronage, ideology and poetics)

葛浩文 Howard Goldblatt

文革 the Cultural Revolution

《枯河》 ''Dry River''

《天堂蒜薹之歌》 ''The Garlic Ballads''

企鹅出版公司 Penguin Publishing

《丰乳肥臀》 ''Big Breasts and Wide Hips''

柏林国际电影节 Berlin International Film Festival

津巴布韦国际电影节 Zimbabwe International Film Festival

悉尼国际电影节 Sidney International Film Festival

马拉什国际电影电视节 Mar del Plata Film Festival

布鲁塞尔国际电影节 Bruxelles International Film Festival

蒙彼利埃国际电影节 Montreal World Film Festival

《中国现代文学》 ''Modern Chinese Literature''

北京精典博维文化传媒有限公司 Beijing Genuine&Profound Culture Media Co.,LTD.

拱廊出版公司 Arcade Publishing

理查德·西维尔 Richard Seaver

===Questions===
1. What's the "three elements" put forward by Lefevere?

2. How many American books has China introduced in a year recently?

3. When was Mo Yan awarded the Nobel Prize in Literature?

4. Which novel is the most translated and reprinted work of Mo Yan?

5. How many stages are there in the history of contemporary Chinese literature in English-speaking countries?

6. What are the reasons for ''Red Sorghum's'' successful transmission?

===Answers===
1. Patronage, ideology and poetics.

2. About 150.

3. On October 11, 2012.

4. ''Red Sorghum''

5. Four.

6. The literary value of the work itself; the pioneering role of the film ''Red Sorghum''; Howard Goldblatt's translation and promotion; the role of publishing brokers and houses.

20220602 homework

2022-06-02T09:20:32Z

Liu Shuangying: /* 英语笔译刘乐乐 Liu Lele 202170081584 */

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=Please write your homework directly down here=
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line.

While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.

When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".

Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

==英语笔译卞王倩 Bian Wangqian 202170081563==

虽是玩话，细想来倒也有些意思。我想宝琴虽有了人家，我虽无人可给，难道一句话也不说？我想你宝兄弟，老太太那样疼他，他又生得那样，若要外头说去，老太太断不中意，不如把你林妹妹定与他，岂不四角俱全？”黛玉先还怔怔的，后来见说到自己身上，便啐了宝钗一口，红了脸，拉着宝钗笑道：“我只打你！为什么招出姨妈这些老没正经的话来？”宝钗笑道：“这可奇了！妈妈说你，为什么打我？”紫鹃忙跑来笑道：“姨太太既有这主意，为什么不和太太说去？”

A joke as it was, the old lady should have this intention, I suppose. Although I can select no one except Precious Strings, who has been engaged, how can’t I help with Precious Jade’s marriage? As for this issue, our old lady is so doting on her grandson, such a handsome man, so it’s expected that she will definitely not be satisfied with a girl from an unfamiliar family as her granddaughter-in-law. Your Sister Forest seems to be a better choice than any others. Isn’t it a perfect match, is it? ” At first, Mascara Jade was absent-minded at the topic, and then realized the topic had come to her, so the blushed girl pretended to spit at Precious Hairpin and pushed her, “I’ll knock your head off! You just entice your mother to make such ridiculous remarks!” “It indeed amazes me! Mom gossiped about you! And why you beat me!”Precious Hairpin joked. Nightingale also came to join them, “Now that Lady Marshgrass has this idea, you shall talk it to Grandma Merchant.”

Thank you for your correction work this semester! (*￣︶￣)

（reply: My enjoyment, sweet girl~）

A joke as it was, the old lady should have this intention, I suppose. Although I can select no one except Precious Strings, who has been engaged, how can I pass over Precious Jade’s marriage? As for this issue, our old lady has been so doting on her grandson, such a handsome man, so it’s expected that she will definitely not be satisfied with a girl from an unfamiliar family as her granddaughter-in-law. Your Sister Forest seems to be a better choice than any others. Isn’t it a perfect match, is it? ” At first, Mascara Jade was absent-minded at the topic, and then realized the topic had come to her, so the blushed girl pretended to spit at Precious Hairpin and pulled her arm, “I’ll knock your head off! You just entice your mother to make such ridiculous remarks!” “It indeed amazes me! It's Mom that gossiped about you! And why you beat me!”Precious Hairpin joked. Nightingale also came to join them, “Now that Lady Marshgrass has this idea, you shall talk it to Grandma Merchant.”--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:44, 29 May 2022 (UTC)

==英语笔译曹姣 Cao Jiao 202170081564==

薛姨妈笑道：“你这孩子急什么！想必催着姑娘出了阁，你也要早些寻一个小女婿去了。”紫鹃也红了脸，笑道：“姨太太真个倚老卖老的！”说着便转身去了。黛玉先骂：“又与你这蹄子什么相干！”后来见了这样，也笑道：“阿弥陀佛！该，该，该！也臊了一鼻子灰去了！”薛姨妈母女及婆子丫鬟都笑起来。一语未了，忽见湘云走来，手里拿着一张当票，口内笑道：“这是什么账篇子？”黛玉瞧了，不认得。地下婆子们都笑道：“这可是一件好东西！这个乖不是
白教的。”

"What are you hurry for, child?" teased Aunt Marshgrass. "I reckon the sooner your mistress is married off, the sooner you can find yourself a young husband." Nightingale flushed to turn back, "You’re taking advantage of one's seniority, your Ladyship!" Then she went away. "What business does it have with you?" scolded Mascara Forest, and then laughed too at her discomfiture. "Amitabha! She deserves it!" Aunt Marshgrass, Precious Hairpin and all the present joined the laughter. At that moment, Fragrant Cloud came in, with a pawn ticket in her hand. "What’s this bill for?" she asked smilingly. Mascara Forest took a look but did not know what it was. "It’s something marvelous," the married servants laughed. "But we won’t teach you for nothing."

"What are you hurry for, child?" teased Aunt Marshgrass. "I reckon the sooner your mistress is married off, the sooner you can find yourself a young husband." Nightingale flushed to turn back, "You’re taking advantage of one's seniority, your Ladyship!" Then she went away. "What business does it have with you?" scolded Mascara Forest, and then laughed too at her discomfiture. "Amitabha! She deserves it!" Aunt Marshgrass, Precious Hairpin and all the present joined the laughter. At that moment, Fragrant Cloud came in, with a pawn ticket in her hand. "What’s this bill for?" she asked smilingly. Mascara Forest took a look but did not know what it was. "It’s something marvelous," the married servants laughed. "But we won’t teach you for nothing."--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:16, 30 May 2022 (UTC)

==英语笔译陈路瑶 Chen Luyao 202170081565==

宝钗忙一把接了看时，正是岫烟才说的当票子，忙折了起来。薛姨妈忙说：“那必定是那个妈妈的当票子失落了，回来急的他们找。那里得的？”湘云道：“什么‘当票子’？”众人笑道：“真真是个呆子，连个票子也不知道！”薛姨妈叹道：“怨不得他，真真是侯门千金，而且又小，那里知道这个？那里去有这个？便是家下人有这个，他如何得见？别笑他是呆子，若给你们家的姑娘看了，也都成了呆子。”众婆子笑道：“林姑娘方才也不认得。别说姑娘们。就如宝玉，倒是外头常走出去的，只怕也还没见过呢。”

Precious Hairpin took it from Fragrant-cloud and found that it was the pawn Tadpole had mentioned. She hastily folded it up.‘It must be a pawn ticket some old nurse has lost,’ said Aunt Marshgrass. ‘She’ll be frantic when she can’t find it.’‘A pawn ticket? What’s that?’ asked Fragrant-cloud.Everybody laughed.‘You idiot! You doesn’t even know what a pawn ticket is.’‘That’s quite natural,’ remarked Aunt Marshgrass. ‘As the daughter of a noble house, and still young, how could she know of such things? Where would she have seen one? Even if some one in their household had one, she wouldn’t set eyes on it. So don’t you go calling her an idiot. If you showed your young mistresses this, that would make them all idiots,too.’‘Just now Sister Fores didn’t know it either,’ agreed the women. ‘And not only the young ladies. We’d be surprised if Precious Jade doesn't know what it is, though he often goes outside.’
Precious Hairpin took it from Fragrant-cloud and found that it was the pawn Tadpole had mentioned. She hastily folded it up.‘It must be a pawn ticket some old nurse has lost,’ said Aunt Marshgrass. ‘She’ll be frantic when she can’t find it.’‘A pawn ticket? What’s that?’ asked Fragrant-cloud.Everybody laughed.‘You idiot! You doesn’t even know what a pawn ticket is.’‘That’s quite natural,’ remarked Aunt Marshgrass. ‘As the daughter of a noble house, and still young, how could she know of such things? Where would she have seen one? Even if some one in their household had one, she wouldn’t set eyes on it. So don’t you go calling her an idiot. If you showed your young mistresses this, that would make them all idiots,too.’‘Just now Sister Fores didn’t know it either,’ agreed the women. ‘And not only the young ladies. We’d be surprised if Precious Jade doesn't know what it is, though he often goes outside.’--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:58, 30 May 2022 (UTC)

==英语笔译邓阳林 Deng Yanglin 202170081567==

薛姨妈忙将原故讲明。湘云黛玉二人听了，方笑道：“这人也太会想钱了！姨妈家当铺也有这个不成？”众人笑道：“这更呆了！‘天下老鸹一般黑’，岂有两样的。”薛姨妈因又问：“是那里拾的？”湘云方欲说时，宝钗忙说：“是一张死了没用的，不知是那年勾了账的。香菱拿着哄他们玩的。”薛姨妈听了此话是真，也就不问了。一时人来回：“那府里大奶奶过来请姨太太说话呢。”薛姨妈起身去了。这里屋内无人时，宝钗方问湘云：“何处拾的？”湘云笑道：“我见你令弟媳的丫头篆儿悄悄的递与莺儿。

Aunt Marshgrass quickly explained the reason. When the two of them heard this, Fang laughed and said, "This man is so good at thinking about money! My aunt's pawnshop has that too?" The crowd laughed: "This is more foolish! There is nothing different about the pot calling the kettle black. Aunt Marshgrass asked again, "Where did you pick it up?" When Fragrant-cloud History was about to say something, Precious Hairpin Marshgrass replied, "It's a dead one. I don't know if it was written that year. Wiselotus Potterymaker is holding it to coax them." Aunt Marshgrass heard this to be true and asked no more questions. At that time a person back and forth: "that mansion big grandma come to ask a concubine to talk." Aunt Marshgrass got up and went. When there was no one in the room, Precious Hairpin Marshgrass asked Fragrant-cloud History, "Where did you pick it up?" Fragrant-cloud History said with a smile, "I saw you make your sister-in-law's wench whisper to Maid Oriole.

Aunt Marshgrass quickly explained the reason. When the two of them heard this, they laughed and said, "This man loves money too much! Aunt, is your family shop the same, aunt?" The crowd laughed: "This is more foolish! All crows are black the world over. "Aunt Marshgrass asked again, "Where did you pick it up?" When Fragrant-cloud History was about to say something, Precious Hairpin Marshgrass hurried to reply, "It's a ticket that has expired. I don't know when it was canceled. Wiselotus Potterymaker must have given it to coax them." Aunt Marshgrass thought it true and asked no more questions. At that time a person reported, "The mistress in the other mansion invite Madam Marshgrass to have a talk." Aunt Marshgrass got up and went. When there was no one in the room, Precious Hairpin Marshgrass asked Fragrant-cloud History, "Where did you pick it up?" Fragrant-cloud History said with a smile, "I saw your future sister-in-law’s maid Seal slip it to Warbler."
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 12:04, 1 June 2022 (UTC)

==英语笔译何丽娜 He Lina 202170081569==

莺儿便随手夹在书里，只当我没看见。我等他们出去了，我偷着看，竟不认得。知道你们都在这里，所以拿来大家认认。”黛玉忙问：“怎么他也当衣裳不成？既当了，怎么又给你去？”宝钗见问，不好隐瞒他两个，便将方才之事，都告诉了他二人。黛玉便说：“兔死狐悲，物伤其类”，不免也要感叹起来了。史湘云听了，便动了气，说：“等我问着二姐姐去！我骂那起老婆子丫头一顿，给你们出气，何如？”说着，便要走出去，宝钗忙一把拉住，笑道：“你又发疯了，还不给我坐着呢！”

"Warbler then clipped it in the book, and thought I did not notice. After they went out, I took a peep at it but did not know what it is. I knew you were all here, so I brought it for everyone to recognize." Mascara Jade asked , "Did she pawn her clothes too? And if so, why should she give the ticket to you?" Knowing it is not good to hide the truth, then Precious Hairpin told them what had happened. Mascara Jade then said, "It's like the fox is sad at the death of a hare and all beings grieve for their fellow beings." And she can not help but also sigh up. However,Fragrant-cloud became angry and said, "Wait till I go to ask the second sister! What if I scolded the old woman to vent your anger on them?" Precious Hairpin quickly stopped her and said with a smile, "You are crazy again. Hurry to sit down here!"

"Warbler then clipped it in the book, and thought I did not notice. After they went out, I took a peep at it but did not know what it is. I knew you were all here, so I brought it for everyone to recognize." Mascara Jade asked , "Did she pawn her clothes too? And if so, why should she give it to you?" Knowing it is not good to hide the truth, then Precious Hairpin told them what had happened. Mascara Jade then said, "It's like the fox is sad at the death of a hare and all beings grieve for their fellow beings." And she can not help but also sigh up. However,Fragrant-cloud became angry and said, "Wait till I go to ask the second sister! What if I scolded the old woman to vent your anger on them?" Precious Hairpin quickly stopped her and said with a smile, "You are crazy again. Hurry to sit down here!"--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:26, 31 May 2022 (UTC)

==英语笔译胡良明 Hu Liangming 202170081570==

黛玉笑道：“你要是个男人，出去打一个抱不平儿。你又充什么荆轲、聂政？真真好笑。”湘云道：“既不叫我问他去，明日也把他接到咱们院里一处住去，岂不是好？”宝钗笑道：“明日再商量。”说着，人报：“三姑娘四姑娘来了。”三人听说，忙掩了口，不提此事。要知端的，且听下回分解。
◎第五十八回杏子阴假凤泣虚凰茜纱窗真情揆痴理
话说他三人因见探春等进来，忙将此话掩住不提。探春等问候过，大家说笑了一会方散。谁知上回所表的那位老太妃已薨，凡诰命等皆入朝随班，按爵守制；

Mascara Jade said with a smile, "If you were a man, go out and fight for justice. What are you calling Jing Ke and Nie Zheng for? It's really funny." Fragrant-cloud said, "If you don't ask me to ask him, I'll pick him up tomorrow. Wouldn’t it be good for us to live in one place in the courtyard?” Precious Hairpin smiled and said, “We’ll discuss it tomorrow.” Then the people reported, “The third girl and fourth girl come here.” Knowing this, they shut their mouth and said nothing. To know the truth, and listen to the next decomposition.
◎The fifty-eighth chapter Xingzi Yin fake phoenix weeping illusory phoenix Qian screen window is true and idiotic. It was said that the three of them were waiting to come in because of seeing Seeking-Spring so they hurriedly covered up this remark. After Seeking-Spring and other greetings, everyone joked and laughed for a while before dispersing. Who would have known that the old concubine who was listed last time had passed away, and all the appointments, etc., would enter the court and follow the class, and be held by the rank;

Mascara Jade said with a quizzical smile, "If you were a real man, go out and fight for justice. What are you calling Jing Ke and Nie Zheng for? It's really funny." Fragrant-cloud said, "If you don't ask me to ask him, I'll pick him up tomorrow. Wouldn’t it be good for us to give him a room to live in in the courtyard?” Precious Hairpin smiled and said, “We’ll discuss it tomorrow.” Then the people reported, “The third girl and fourth girl are coming.” Knowing this, they ended their conversation. To know the truth, listen to the next decomposition.
◎The fifty-eighth chapter Xingzi Yin fake phoenix weeping illusory phoenix Qian screen window is true and idiotic. It was said that the three of them were waiting to come in because of seeing Seeking-Spring so they hurriedly covered up this remark. After Seeking-Spring and her greetings, everyone joked and laughed for a while before dispersing. Who would have known that the old concubine who was listed last time had passed away, and all the appointments, etc., would enter the court and follow the class, and be held by the rank;--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 13:34, 31 May 2022 (UTC)

==英语笔译黄琼 Huang Qiong 202170081571==

敕谕天下，凡有爵之家，一年内不得筵宴音乐，庶民皆三月不得婚姻。贾母婆媳祖孙等俱每日入朝随祭，至未正以后方回。在大偏宫二十一日后，方请灵入先陵，地名孝慈县。这陵离都来往得十来日之功，如今请灵至此，还要停放数日，方入地宫，故得一月光景。宁府贾珍夫妻二人，也少不得是要去的。两府无人，因此大家计议，家中无主，便报了“尤氏产育”，将他腾挪出来，协理荣宁两处事件。因托了薛姨妈在园内照管他姊妹丫鬟。薛姨妈只得也挪进园来。

It announced that Nobles throughout the empire were forbidden feasting and music for a year, while common people were prohibited from marrying for three months.
Grandma Merchant with her daughter-in-law as well as grandchildren of the family had to go to court every morning and offered the sacrifice, not returning until around two p.m. After twenty-one days of lying in state in the Great Inner Court of the Side Palace, the coffin would be conveyed to the Imperial Mausoleum in the county called Filial Kindness; and as this was some ten days journey from the capital, the coffin would have to wait there for several days before it could be interred in the underground palace, the whole proceedings would occupy nearly one month. Treasure Merchant and his wife should both have assisted at these obsequies; but as that would have left no one at home, after much discussion they decided to beg leave from the court for Madam Outstanding on the plea that she was with the child so that she could take over the supervision of the two mansions. Aunt Marshgrass, having been prevailed upon to take care of the girls and maids in the Garden, now had to move in there too.

It announced that Nobles throughout the empire were forbidden feasting and music for a year, while common people were prohibited from marrying for three months. Grandma Merchant with her daughter-in-law as well as grandchildren of the family had to go to court every morning and offered the sacrifice, not returning until around two in the afternoon. After twenty-one days of lying in state in the Great Inner Court of the Side Palace, the coffin would be conveyed to the Imperial Mausoleum in the county called Filial Kindness; and as this was some ten days journey from the capital, the coffin would have to wait there for several days before it could be interred in the underground palace, the whole proceedings would occupy nearly one month. Treasure Merchant and his wife of the Ning Mansion should both have assisted at these obsequies; but as that would have left no one at home, after much discussion they decided to beg leave from the court for Madam Outstanding on the plea that she was with child, so that she could take over the supervision of the two mansions. Aunt Marshgrass, having been prevailed upon to take care of the girls and maids in the Garden, now had to move in there too.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 15:11, 29 May 2022 (UTC)

==英语笔译邝雨琪 Kuang Yuqi 202170081572==

因宝钗处有湘云香菱，李纨处目今李婶母虽去，然有时来住，三五日不定，贾母又将宝琴送与他去照管；迎春处有岫烟；探春因家务冗杂，且不时有赵姨娘与贾环来嘈聒，甚不方便，惜春处房屋狭小，况贾母又千叮咛万嘱咐托他照管林黛玉，薛姨妈素习也最怜爱他的，今既巧遇这事，便挪至潇湘馆来和黛玉同房，一应药饵饮食，十分经心。黛玉感戴不尽，以后便亦如宝钗之称呼，连宝钗前亦直以“姐姐”呼之，宝琴前直以“妹妹”呼之，俨似同胞共出，较诸人更似亲切。贾母见如此，也十分喜悦放心。

Precious Hairpin already had Fragrant-cloud and Wiselotus Potterymaker living with her; Silk Plum, although her aunt and her aunt's two daughters were not staying with her, received visits from them every few days, and she had been entrusted with Precious Strings as well by the Grandma Merchant; Spring Pleasure was sharing with Cloud Marshgrass; Seeking-Spring's apartments were not convenient either, as she was fully occupied with household affairs and the trouble caused by Concubine Walk and Ring Merchant; and Cherishing Spring's place was limited. Besides, as the old lady had asked Aunt Marshgrass to take special care of Mascara Jade Forest, for whom she herself felt the deepest sympathy. Under the circumstances she naturally moved into Bamboo Lodge where she shared Mascara Jade's room and kept a strict eye on the girl's medicines. Mascara Jade was more grateful for this than words can tell, She began to treat Aunt Marshgrass as her own mother and Precious Hairpin and Precious Strings as her sisters, feeling closer to them than to all the other girls. Grandma Merchant was very relieved and happy to observe this condition.

Precious Hairpin already had Fragrant-cloud and Wiselotus Potterymaker living with her; Silk Plum, although her aunt and her aunt's two daughters were not staying with her, received visits from them every few days, and she had been entrusted with Precious Strings as well by the Grandma Merchant; Spring Pleasure was sharing with Cloud Marshgrass; Seeking-Spring's apartments were not convenient either, as she was fully occupied with household affairs and the trouble caused by Concubine Walk and Ring Merchant; and Cherishing Spring's place was limited. Besides, as the old lady had asked Aunt Marshgrass to care more about Mascara Jade Forest, for whom she herself felt the deepest sympathy. Under the circumstances, she naturally moved into Bamboo Lodge where she shared Mascara Jade's room and kept a strict eye on the girl's medicines. Mascara Jade was more grateful for this than words can tell, She began to treat Aunt Marshgrass as her own mother and Precious Hairpin and Precious Strings as her sisters, feeling closer to them than to all the other girls. Grandma Merchant was very relieved and happy to see what happened here.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 02:34, 2 June 2022 (UTC)

==英语笔译黎溢佳 Li Yijia 202170081573==

薛姨妈只不过照管他姊妹，禁约得丫鬟辈；一应家中大小事务也不肯多口。尤氏虽天天过来，也不过应名点卯，亦不肯乱作威福，且他家内上下，也只剩他一个料理；再者，每日还要照管贾母王夫人的下处一应所需饮馔铺设之物：所以也甚操劳。当下荣宁两处主人既如此不暇，并两处执事人等，或有跟随着入朝的，或有朝外照理下处事务的，又有先踩踏下处的，也都各各忙乱。因此两处下人无了正经头绪，也都偷安，或乘隙结党，与权暂执事者窃弄威福。荣府只留得赖大并几个管家照管外务。
Aunt Marshgrass simply looked after the girls and controlled the younger maids, however, not interfering with other family business. And though Madam Outstanding came over every day she dealt only with routine matters, careful not to overstep her authority. In any case, she was too busy managing the daily food and supplies for the Grandmam Merchant and Lady King in the hostel where they were staying.
While those in charge of the two mansions had their hands full in this way, all the chief stewards were busy too — those who had not left earlier to look for lodgings for their masters and mistresses during the funeral ceremonies, either accompanied their masters to a court or were busy handling jobs in their hostel outside. And in the absence of proper supervision, the servants of both mansions slacked or ganged under the provisory chief stewards to abuse their power. The only stewards left in the Rong Mansion were Big Riley and a few in charge of the outside business.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 02:32, 1 June 2022 (UTC)

Aunt Marshgrass just looked after her sisters and controlled the younger maids, however, not interfere with other family businesses. And though Madam Outstanding came over every day she merely dealt with routine matters, careful not to overstep her authority. In any case, she was too busy managing the daily diet and supplies for the Grandma Merchant and Lady King in the hostel where they were staying.
While those in charge of the two mansions had their hands full in this way, all the chief stewards were busy too — those who had not left earlier to look for lodgings for their masters and mistresses during the funeral ceremonies, either accompanied their masters to a court or were busy handling jobs in their hostel outside. And in the absence of proper supervision, the servants of both mansions slacked or ganged under the provisory chief stewards to abuse their power. The only stewards left in the Rong Mansion were Big Riley and a few in charge of the outside business.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 02:42, 1 June 2022 (UTC)

==英语笔译李思敏 Li Simin 202170081574==

这赖大手下常用几个人已去，虽另委人，都是些生的，只觉不顺手。且他们无知，或赚骗无节，或呈告无据，或举荐无因，种种不善，在在生事，也难备述。又见各官宦家，凡养优伶男女者，一概蠲免遣发，尤氏等便议定，待王夫人回家回明，也欲遣发十二个女孩子。又说：“这些人原是买的，如今虽不学唱，尽可留着使唤，只令其教习们自去也罢了。”王夫人因说：“这学戏的倒比不得使唤的，他们也是好人家的女儿，因无能，卖了做这事，装丑弄鬼的几年，如今有这机会，不如给他们几两银子盘费，各自去罢。

Big Rely's trusted servants had gone somewhere else, although he had appointed others, he was not familiar with them so he felt that it was not going well. Moreover, they were ignorant, dishonest, reported without evidence, or recommended for no reason. All in all, they have so many inadequacies, too much to account. As all the official families had dismissed all the actors and actresses raised in their house, Madam Outstanding and others agreed that they also wanted to lay off twelve maids when Lady King came back home. She added, "These people were bought from traffickers at first, but now, although they don't learn to sing, we can keep them and let serving women teach them to do household work ."Lady King said, "there is no comparison between these servants and actors who are also the daughters of good families, they were sold to learn performing for their families' deficit financial condition. Having been acting in opera for several years, they have this opportunity to do something else now, it's better to give them a few taels of silver and let them go somewhere else."--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 12:53, 28 May 2022 (UTC)

Big Rely's trusted servants had gone somewhere else, although he had appointed others, he was not familiar with them so he felt that it was not going well. Moreover, they were ignorant, dishonest, reported without evidence, or recommended for no reason. Generally speaking, they have so many inadequacies, too much to account. As all the official families had dismissed all the actors and actresses raised in their house, Madam Outstanding and others agreed that they also wanted to lay off twelve maids when Lady King came back home. She added, "These people were bought from traffickers at first, but now, although they don't learn to sing, we can keep them and let serving women teach them to do household work ."Lady King said, "there is no comparison between these servants and actors who are also the daughters of good families, they were sold to learn performing for their families' deficit financial condition. Having been acting in opera for several years, they have this opportunity to do something else now, it's better to give them a few taels of silver and let them go somewhere else."--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 01:34, 31 May 2022 (UTC)

==英语笔译李思源 Li Siyuan 202170081575==

当日祖宗手里都是有这例的。咱们如今损阴坏德，而且还小器。如今虽有几个老的还在，那是他们各有原故，不肯回去的，所以才留下使唤的，大了配了我们家里小厮们了。”尤氏道：“如今我们也去问他十二个，有愿意回去的，就带了信儿，叫他父母来亲自来领回去，给他们几两银子盘缠，方妥；倘若不叫上他的亲人来，只怕有混帐人冒名领出去，又转卖了，岂不辜负了这恩典？若有不愿意回去的，就留下。”王夫人笑道：“这话妥当。”尤氏等遣人告诉了凤姐儿，一面说与总理房中，每教习给银八两，令其自便。

There is a precedent for this in the time of our ancestors. Now we have become immoral and mean. Now there are still a few old servants left, have their own difficulties. Let the older pair with the younger." "Now let's ask the servants what they think of it," said Outstanding. "If any of them want to go home, let them write to their parents and ask them to take them home. And gave them a few taels of silver for their journey home. If there are no relatives to take them, it is likely that a fraudster will take their place, lead them out and then sell them again. Then all the good work we've done has gone down the drain. Those who don't want to go home, let them stay." Lady King smiled and said, "It's good to do that." Outstanding called servant notice Splendid Phoenix King, and then told the accountant about it. Each servant was given eight ounces of silver to decide for themselves.

There is a precedent for this in the time of our ancestors. Now we have become immoral and mean. Now there are still a few old servants left, because they have their own difficulties. Let the older pair with the younger." "Now let's ask these twelve girls about their thoughts," said Madam Outstanding. "If any of them want to go home, then let them write to their parents and ask them to take them home, with giving them a few taels of silver for their journey home. If there are no relatives to take them, it is likely that a fraudster will take their place, and sell them out again. Then all the good work we've done has gone down the drain. Those who don't want to go home can be kept." Lady King smiled and said, "It's good to do that." Madam Outstanding ordered a servant to inform Sister Phoenix, and then told the accountant about it. Each instructor was given an eight-tael gratuity with free permission to leave.--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 13:08, 28 May 2022 (UTC)

==英语笔译李婷 Li Ting 202170081576==

凡梨香院一应物件，查清记册收明，派人上夜。将十二个女孩子叫来，当面细问，倒有一多半不愿意回家的：也有说父母虽有，他只以卖我们姊妹为事，这一去还被他卖了；也有父母已亡，或被叔伯兄弟所卖的；也有说无人可投的；也有说恋恩不舍的。所愿去者止四五人。王夫人听了，只得留下。将去者四五人皆令其干娘领回家去，单等他亲父母来领；将不愿去者，分散在园中使唤。贾母便留下文官自使，将正旦芳官指与宝玉，将小旦蕊官送了宝钗，将小生藕官指与了黛玉，将大花面葵官送了湘云，将小花面豆官送了宝琴，将老外艾官指与了探春，尤氏便讨了老旦茄官去。

Everything in Pear Fragrance Court was inventoried and put away, and some servants were appointed to guard the place at night. Twelve girls were called for and questioned, and more than half of them did not want to go home. Others said that their parents only sold their daughters for money, and if they went back they would be sold again. Some said their parents were dead and they were sold by their brothers or uncles. But others said there was no one to depend; there were also those who said they didn’t want to leave this kind family which had been so good to them. There were only four or five people who wished to go. When Lady King heard this she had to keep them. The few who chose to leave were instructed to stay with their foster-mothers until their own parents should come for them; and she allocated those people who stayed there to work in the Garden. Grandma Merchant then left Literal Official, and allocated Fragrant Official who played the part of young ladies to Precious Jade, Actress Pistil who played pert maids to Precious Hairpin, Actress Lotus-root who played young gentlemen to Mascara Jade, Sunflower who played the chief warriors to Fragrant-cloud, Bean who played lesser warriors to Precious Strings, Chinese Mugwort who played old men to Seeking-Spring. Madam Outstanding then took Entertainer whose role was old women.

Everything in Pear Fragrance Court was inventoried and put away, and some servants were appointed to guard the place at night. Twelve girls were called for and questioned carefully by the way of facing each other, and more than half of them did not want to go home. Others said that even though their parents weren't poor ,they still sold their daughters for money, and if they went back they would be sold again. Some said their parents were dead and they were sold by their brothers or uncles. But others said there was no one to depend; there were also those who said they didn’t want to leave this kind family which had been so good to them. There were only four or five people who wished to leave. When Lady King heard this she had to keep them. The few who chose to leave were instructed to stay with their foster-mothers until their own parents should come for them; and she allocated those people who stayed there to work in the Garden. Grandma Merchant then left Literal Official, and allocated Fragrant Official who played the part of young ladies to Precious Jade, Actress Pistil who played pert maids to Precious Hairpin, Actress Lotus-root who played young gentlemen to Mascara Jade, Sunflower who played the chief warriors to Fragrant-cloud, Bean who played lesser warriors to Precious Strings, Chinese Mugwort who played old men to Seeking-Spring. Madam Outstanding then took Entertainer whose role was old women.--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:14, 29 May 2022 (UTC)Li Ying

==英语笔译李颖 Li Ying 202170081578==

当下各得其所，就如那倦鸟出笼，每日园中游戏。众人皆知他们不能针黹，不惯使用，皆不大责备。其中或有一二个知事的，愁将来无应时之技，亦将本技丢开，便学起针黹纺绩女工诸务。一日正是朝中大祭，贾母等五更便去了，下处用些点心小食，然后入朝。早膳已毕，方退至下处歇息，用过早饭，略歇片刻，复入朝待中晚二祭，方出至下处歇息。用过晚饭方回家。可巧这下处乃是一个大官的家庙，乃比丘尼焚修，房舍极多极净，东西二院，荣府便赁了东院；北静王府便赁了西院。

Once places had been found of them, they were like the uncaged bird enjoying the fresh air, did nothing all day but wander about happily in the garden.Everyone knows they aren't able to cook and sew, so they don't blame them." It is true that one or two of them had the good sense to see that the future would be bleak for them without a craft, now that their theatrical training had been discontinued, and who applied themselves to learning domestic skills like sewing and spinning; but they were the exception. It is time for the great sacrifice at the court.The Granny Merchant prepared to went to the court, she ate some deserts at about 4 a.m in the morning and then proceed to the court.After breakfast, she returned home to rest for a while. Then she had participated in the second sacrifice held at moon or night. As the ceremony finished ,she had time to rest. By chance，the hostel，the family temple of a high official，had nuns in residence and scores of cells all of which were scrupulous clean.There are two mansions respectively located in the west and east. The Ring Mansions party had the use of the east courtyard, the Prince of Beijing's household that of the west.

Once places had been found for them, they were like the uncaged bird enjoying the fresh air, ad did nothing all day but wander about happily in the Garden. Everyone knew they weren't able to and used to cooking and sewing, so they did't blame them. It was true that one or two of them had the good sense to see that the future would be bleak for them without a craft. Now that their theatrical training had been discontinued, they applied themselves to learning domestic skills like sewing and spinning. One day, it was the time for the great sacrifice at the court. The Grandma Merchant prepared to the court at about 4 o'clock in the morning, ate some deserts in the place for rest, and then proceeded to the court. After breakfast, she returned the former place to have a rest for a while and have breakfast. Then she participated in the second sacrifice held at moon and night. As the ceremony finished ,she had time to rest, and she could went home after dinner. By chance，the hostel，the family temple of a high official，had nuns in residence and scores of cells all of which were scrupulously clean. There were two mansions respectively located in the west and east. The Ring Mansions party had the use of the east courtyard, while the Prince of Beijing's household was that of the west.--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 15:59, 31 May 2022 (UTC)

==英语笔译李媛 Li Yuan 202170081579==

太妃少妃每日宴息，见贾母等在东院，彼此同出同入，都有照应。外面细事不消细述。且说大观园内，因贾母王夫人天天不在家内，又送灵去一月方回，各丫鬟婆子，皆有闲空，多在园中游玩，更又将梨香院内伏侍的众婆子一概撤回，并散在园内听使，更觉园内人多了几十个。因文官等一干人，或心性高傲，或倚势凌下，或拣衣挑食，或口角锋芒，大概不安分守己者多，因此众婆子含怨，只是口中不敢与他们分争；如今散了学，大家趁了愿；也有丢开手的；也有心地狭窄犹怀旧怨的，因将众人皆分在各房名下，不敢来厮侵。

The two ladies would see Grandma Merchant in the banquet held in the east of the Garden each day, and they were together all the time to be there for each other. There was no need to talk about the outside thins. In the Garden, when Grandma Merchant and Lady King were away from home for the funeral affairs and would come back a month later, all the maids and women servants were free from work and had fun in the Garden. What’s more, all the women servants of the Peer Fragrance Court were called back and then sent to serve around the Garden. Then, there were more dozens of people in the Garden. Literal Official and other girls were arrogant, likely to throw weight on others, fastidious about food and clothing, and likely to speak harsh words. That is to say, they were not inclined to be obedient. Hence, other women servants complained about their behaviors, but they dared not to argue with them. Now, they would be relieved after the closing of the opera club. Some of them were open to it, while others were too mean to let the former thing go. Therefore, they were arranged to serve different places, so they dared not to fight with each other.

The two ladies would see Grandma Merchant in the banquet held in the east of the Garden each day, and they were together all the time to be there for each other. There was no need to talk about the outside thins. In the Garden, when Grandma Merchant and Lady King were away from home for the funeral affairs and would come back a month later, all the maids and women servants were free from work and had fun in the Garden. What’s more, all the women servants of the Peer Fragrance Court were called back and then sent to serve around the Garden. Then, there were more dozens of people in the Garden. Literal Official and other girls were arrogant, likely to throw weight on others, fastidious about food and clothing, and likely to speak harsh words. That is to say, they were not inclined to be obedient. Hence, other women servants complained about their behaviors, but they dared not to argue with them. Now, they would be relieved after the closing of the opera club. Some of them were open to it, while others were too mean to let the former thing go. Therefore, they were arranged to serve different places, so they dared not to fight with each other.--[[User:Liang Siting|Liang Siting]] ([[User talk:Liang Siting|talk]]) 02:04, 2 June 2022 (UTC)

==英语笔译梁思婷 Liang Siting 202170081581==

可巧这日乃是清明之日，贾琏已备下年例祭祀，带领贾环、贾琮、贾兰三人去往铁槛寺祭柩烧纸；宁府贾蓉也同族中人各办祭祀前往。因宝玉病未大愈，故不曾去得。饭后发倦，袭人因说：“天气甚好，你且出去逛逛，省的丢下粥碗就睡，存在心里。”宝玉听说，只得拄了一支杖，靸着鞋，步出院来。因近日将园中分与众婆子料理，各司各业，皆在忙时：也有修竹的，也有??树的，也有栽花的，也有种豆的，池中间又有驾娘们行着船夹泥的，种藕的。湘云、香菱、宝琴与些丫鬟等都坐在山石上瞧他们取乐。宝玉也慢慢行来。

Coincidentally, this day was the Ching Ming Festival. Romance had prepared ritual feast and sacrifice. He led Ring, Zong, Cymbidium to Tiekansi Temple to make sacrifice. Prosperity Merchant also led his family to prepare for the festival. As Precious Jade hadn't completely recovered, he didn't go with them. After lunch, he was sleepy. Aroma thus said, "The day is good. You should go out for a walk so that you won't sleep after eating." Hearing this, Precious Jade walked out with a stick, shuffling to the yard. Due to the festival, the yard was being taken care of by female merchants. They were all busy with their duties. Some was pruning the bamboo, some the tree and some the flowers and beans. The lake were girls dredging or picking lotus roots on boats. Fragrant-cloud, Wiselotus, Precious String and some girl servants were sitting on the artificial hills and looking at the people working. Precious approached them slowly.

Coincidentally, this day was the Ching Ming Festival. Romance had prepared ritual feasts and sacrifices. He led Ring, Zong, and Cymbidium to Tiekansi Temple to make sacrifices. Prosperity Merchant also led his family to prepare for the festival. As Precious Jade hadn't completely recovered, he didn't go with them. After lunch, he was sleepy. Aroma thus said, "The day is good. You should go out for a walk so that you won't sleep after eating." Hearing this, Precious Jade walked out with a stick, shuffling to the yard. Due to the festival, the yard was being taken care of by female merchants. They were all busy with their duties. Some were pruning the bamboo, some the tree, and some the flowers and beans. At the lake were girls dredging or picking lotus roots on boats. Fragrant-cloud, Wiselotus, Precious String and some girl servants were sitting on the artificial hills and looking at the people working. Precious approached them slowly.--[[User:Liao Shiyun|Liao Shiyun]] ([[User talk:Liao Shiyun|talk]]) 02:12, 2 June 2022 (UTC)

==英语笔译廖诗韵 Liao Shiyun 202170081582==

湘云见了他来，忙笑说：“快把这船打出去！他们是接林妹妹的。”众人都笑起来。宝玉红了脸，也笑道：“人家的病，谁是好意的，你也形容着取笑儿。”湘云笑道：“病也比人家另一样，原招笑儿，反说起人来。”说着，宝玉便也坐下，看着众人忙乱了一回。湘云因说：“这里有风，石头上又冷，坐坐去罢。”宝玉也正要去瞧黛玉，起身拄拐，辞了他们，从沁芳桥一带堤上走来。只见柳垂金线，桃吐丹霞，山石之后，一株大杏树，花已全落，叶稠阴翠，上面已结了豆子大小的许多小杏。

Fragrant-cloud saw him coming, and said with a smile, "Quickly launch this ship! They were to pick up Sister Forest. The crowd laughed. Precious Jade blushed and laughed: "her illness, who is well-intentioned, you also describe it as making fun of it." Fragrant-cloud laughed: "The illness, the same as people, is interesting. Don’t blame me." With that, Precious Jade also sat down and watched the busy crowd. Fragrant-cloud said, "It is windy and cold on the stone, don’t stay here too long." Precious Jade was also about to go to see Mascara Jade, so he got up on crutches, resigned from them, and walked from the embankment around Qinfang Bridge. On the road, he saw the willow weeping, peach blossoms. After the mountain stone, he saw a large apricot tree, whose flowers have all fallen and leaves are thick and shady. Many bean-sized apricots have been formed on it.

Fragrant-cloud saw him coming, and said with a smile, "Quickly launch this ship! They were to pick up Sister Forest. The crowd laughed. Precious Jade blushed and laughed: "her illness, who is well-intentioned, you also describe it as making fun of it." Fragrant-cloud laughed: "The illness, the same as people, is interesting. Don’t blame me." With that, Precious Jade also sat down and watched the busy crowd. Fragrant-cloud said, "It is windy and cold on the stone, don’t stay here too long." Precious Jade was also about to go to see Mascara Jade, so he got up on crutches, resigned from them, and walked from the embankment around Qinfang Bridge. On the road, he saw the willow weeping, peach blossoms. After the mountain stone, he saw a large apricot tree, whose flowers have all fallen and leaves are thick and shady. Many bean-sized apricots have been formed on it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:03, 30 May 2022 (UTC)

==英语笔译刘唱 Liu Chang 202170081583==

宝玉因想道：“能病了几天，竟把杏花辜负了！不觉到‘绿叶成荫子满枝’了！”因此仰望杏子不舍。又想起邢岫烟已择了夫婿一事：虽说男女大事，不可不行，但未免又少了一个好女儿，不过二年，便也要“绿叶成荫子满枝”了；再过几日，这杏树子落枝空，再几年，岫烟也不免乌发如银，红颜似缟了。因此，不免伤心，只管对杏叹息。正悲叹时，忽有一个雀儿飞来，落于枝上乱啼。宝玉又发了呆性了，心下想道：“这雀儿必定是杏花正开时他曾来过，今见无花空有叶，故也乱啼。这声韵必是啼哭之声，可恨公冶长不在眼前，不能问他。

Precious Jade then thought:"The illness got in the way of watching apricot blossom! Now it's full of leaves!" That made him fell disrupting. Then he thought about the marriage of Cave Cloud City: Thought it's necessary for people to marry someone, however, the family of City still has to see off their good girl. No more than two years, she will have kids; A few days later, the apricot tree would wither and a few years later, the hair of Cave Cloud would turn into grey, and she will get old. That's what made Precious Jade sad, and he just heaved sigh in front of the apricot tree. Meanwhile, here flied a sparrow. it landed on the branch, singing around. Precious Jade then dived into deep thought again:"This sparrow must come when the apricot blossomed, now it sees that there are no flowers so it can't stop making noise. That must be crying. it's a pity that GongYechang is not here, or i can ask him about it.

Precious Jade then thought:"The illness prevented him from watching apricot blossom! Now it's full of leaves!" That made him fell disrupting. Then he thought about the marriage of Cave Cloud City: Though she will get married sooner or later, the world has to see off their good girl. No more than two years, she will have kids; A few days later, the apricot tree would wither and a few years later, the hair of Cave Cloud would turn into grey, and she will get old. That's what made Precious Jade sad, and he just heaved sigh in front of the apricot tree. Meanwhile, here flied a sparrow. it landed on the branch, singing around. Precious Jade then dived into deep thought again:"This sparrow must come when the apricot blossomed, now it sees that there are no flowers so it can't stop making noise. That must be crying. it's a pity that GongYechang is not here, or I can ask him about it.--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:31, 28 May 2022 (UTC)

==英语笔译刘乐乐 Liu Lele 202170081584==

但不知明年再发时，这个雀儿可还记得飞到这里来与杏花一会不能？”正自胡思间，忽见一股火光，从山石那边发出，将雀儿惊飞。宝玉吃了一惊，又听外边有人喊道：“藕官，你要死！怎么弄些纸钱进来烧？我回奶奶们去，仔细你的肉！”宝玉听了，益发疑惑起来，忙转过山石看时，只见藕官满面泪痕，蹲在那里，手内还拿着火，守着些纸钱灰作悲。宝玉忙问道：“你与谁烧纸钱？快不要在这里烧！你或是为父母兄弟，你告诉我名姓，外头去叫小厮们，打了包袱写上名姓去烧。”藕官见了宝玉，只不做一声，宝玉数问不答。

He wonder if the bird will remember next year when it blossoms again.His fantasy was interrupted by a sudden burst of flames on the other side of the rockery, and the bird flew away in terror. Precious Jade was as startled as the bird. A brief burst of flames was followed by an angry shout.Lotus-root, you little rascal, how dare you burn paper offerings in the garden! I'll report you right away. You'll be whipped, my girl. Precious Jade wonder what happened in the end, hurried around to the other side of the rockery to investigate. With tears streaming down his face, Lotus-root squatted on the ground, holding a hot pan that had just burst into flames, and looked sadly at a pile of charred and smoking gold paper money.Who? He asked her. You know, you really shouldn't burn it here. I think it must be for one of your parents -- or your brother, perhaps? Tell me this man's name, and I'll tell my men to go out and buy you a decent bun and write your name on it. When seeing it was Precious Jade, she pressed her lips tightly, and no matter how he asked, she just would not speak. --[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:26, 28 May 2022 (UTC)

He wonder if the bird will remember next year when it blossoms again.His fantasy was interrupted by a sudden burst of flames on the other side of the rockery, and the bird flew away in terror. Precious Jade was as startled as the bird. A brief burst of flames was followed by an angry shout.Lotus-root, you little rascal, how dare you burn paper offerings in the garden! I'll report you right away. You'll be whipped, my girl. Precious Jade wonder what happened in the end, hurried around to the other side of the rockery to investigate. With tears streaming down his face, Lotus-root squatted on the ground, holding a hot pan that had just burst into flames, and looked sadly at a pile of charred and smoking gold paper money.Who? He asked her. You know, you really shouldn't burn it here. I think it must be for one of your parents -- or your brother, perhaps? Tell me this man's name, and I'll tell my men to go out and buy you a decent bun and write your name on it. When seeing it was Precious Jade, she pressed her lips tightly, and no matter how he asked, she just would not speak.--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 09:20, 2 June 2022 (UTC)

==英语笔译刘双英 Liu Shuangying 202170081585==

忽见一个婆子恶狠狠的走来拉藕官，口内说道：“我已经回了奶奶们，奶奶们气得了不得！”藕官听了，终是孩气，怕辱没了没脸，便不肯去。婆子道：“我说你们别太兴头过余了，如今还比得你们在外头乱闹呢！这是尺寸地方儿。”指着宝玉道：“连我们的爷还守规矩呢，你是什么阿物儿，跑来胡闹！怕也不中用，跟我快走罢！”宝玉忙道：“他并没烧纸钱，原是林妹妹叫他来烧那烂字纸的，你没看真，反错告了他。”藕官正没了主意，见了宝玉，也正添了畏惧；

Then up came an irate matron to drag her away.“I’ve reported this to the mistresses.They’re very angry!” she scolded.Nenuphar,being only a child,hung back for fear of being put to shame.“I always said you were riding for a fall,”stormed the woman.“You can’t fool around here the way you did outside.You have to watch your step.”pointing at Preciou Jade she continued,“Even our young master has to observe the rules.Who do you think you are to fool around here? It’s no use being afraid.Come along with me.”“She wasn’t burning paper coins but waste paper for Mascara Jade Forest,”put in Preciou Jade quickly.“You didn’t see clearly and accused her wrongly.”Nenuphar had been at a loss,and Preciou Jade’s appearance had frightened her even more;

Just then the woman he had heard shouting came hurrying back, an evil expression of triumph on her face, and seized hold of the girl. “Well, I've reported you to the young mistresses,” she said, “and they're very, very angry.” she scolded.Nenuphar,being only a child,hung back for fear of being put to shame.“I always said you were riding for a fall,”stormed the woman.“You can’t fool around here the way you did outside.You have to watch your step.”pointing at Preciou Jade she continued,“Even our young master has to observe the rules.Who do you think you are to fool around here? It’s no use being afraid.Come along with me.”“She wasn’t burning paper coins but waste paper for Mascara Jade Forest,”put in Preciou Jade quickly.“You didn’t see clearly and accused her wrongly.”Nenuphar had been at a loss,and Preciou Jade’s appearance had frightened her even more;--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:33, 30 May 2022 (UTC)

==英语笔译刘婷 Liu Ting 202170081586==

忽听他反替遮饰，心内转忧成喜，也便硬着口说道：“你狠看真是纸钱了么？我烧的是林姑娘写坏了的字纸。”那婆子便弯腰向纸灰中拣那不曾化尽的遗纸在手内，说道：“你还嘴硬？有证又有凭。只和你厅上讲去。”说着，拉了袖子，拽着要走。宝玉忙拉藕官，又用拄杖隔开那婆子的手，说道：“你只管拿了回去。实告诉你，我昨夜做了一梦，梦见杏花神和我要一挂白钱，不可叫本房人烧，另叫生人替烧，我的病就好得快了。所以我请了白钱，巴巴的烦他来替我烧了。我今日才能起来，偏你又看见了。

She could hardly believe her ears when she heard him covering up for her. Her fear gave way to a surprised delight and she plucked up courage to defend herself. “Yes, what makes you so sure it was spirit money?” “Miss Lin spoiled some paper when writing. That's what I've been burning.” But the woman was unimpressed. Stooping down, she picked out one or two of the unconsumed fragments from the ashes. “Don't argue with me! Here's evidence! You'll have to come with me to the jobs room and explain yourself to them there.” She caught hold of the girl's sleeve to drag her off. But Bao-yu held her by the other sleeve and struck at the woman's hand with his walking-stick until she let go. “I'll tell you the truth. Last night I dreamed that the spirit of the apricot tree came to ask me for a string of white paper money, saying that if it was burns for me by a stranger, not by anyone in my apartments, my sickness would be cured faster. And now, after I've been to the trouble of getting the stuff and finding this girl to make the offering for me, it's all wasted, because you saw her doing it.”

She could hardly believe her ears when she heard him covering up for her. Her fear gave way to a surprised delight and she plucked up courage to defend herself. “Yes, what makes you so sure it was spirit money?” “Miss Lin spoiled some paper when writing. That's what I've been burning.” But the woman was unimpressed. Stooping down, she picked out one or two of the unconsumed fragments from the ashes. “Don't argue with me! Here's evidence! You'll have to come with me to the jobs room and explain yourself to them there.” She caught hold of the girl's sleeve to drag her off. But Precious Jade held her by the other sleeve and struck at the woman's hand with his walking-stick until she let go. “I'll tell you the truth. Last night I dreamed that the spirit of the apricot tree came to ask me for a string of white paper money, saying that if it was burns for me by a stranger, not by anyone in my apartments, my sickness would be cured faster. And now, after I've been to the trouble of getting the stuff and finding this girl to make the offering for me, it's all wasted, because you saw her doing it.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:32, 30 May 2022 (UTC)

==英语笔译刘瑶 Liu Yao 202170081587==

这会子又不好了，都是你冲了！还要告他去？藕官，你只管见他们去，就照依这话说。”藕官听了，越得主意，反拉着要走。那婆子忙丢下纸钱，陪笑央告宝玉，说道：“我原不知道，若回太太，我这人岂不完了？”宝玉道：“你也不许再回，我便不说。”婆子道：“我已经回了，原叫我带他。只好说他被林姑娘叫去了。”宝玉点头应允。婆子自去。这里宝玉细问藉官：“为谁烧纸？必非父母兄弟，定有私自的情理。”藕官因方才护庇之情，心中感激，知他是自己一流人物，况再难隐瞒，便含泪说道：

But now, by butting in like this, you’ve gone and spoiled everything. And do you still mean to report her? Go with her, Actress Lotus-root, and tell them what I’ve just said. When the old lady comes back, I’ll report her for deliberately spoiling my sacrifice so as to make me die early.” Emboldened by this, Actress Lotus-root started tugging the woman away. The latter hastily dropped the paper money.“How was I to know?” she asked Precious Jade meekly. “If you tell the old lady, Second Master, it will be the end of me! I’ll go and tell the mistresses that I made a mistake—it was you burning sacrificial paper.” “Don’t say anything about it and I won’t tell her,” he promised. “But I’ve already reported it, and they ordered me to take her there. How can I say nothing? All right, I’ll tell them Miss Lin sent for her.” Precious Jade thought for a while then nodded, and the woman went away. Then he asked again: “Whom was the offering for? I’m sure it can’t have been for your own people, as in that case you’d have asked others to burn it for you. There must be a story behind it.” Actress Lotus-root, grateful for his championship, began to feel that they were kindred spirits. Tears sprang to her eyes.

But now, by butting in like this, you’ve gone and spoiled everything. And do you still mean to report her? Go with her, Actress Lotus-root, and tell them what I’ve just said. When the old lady comes back, I’ll report her for deliberately spoiling my sacrifice so as to make me die early.” Emboldened by this, Actress Lotus-root started tugging the woman away. The latter hastily dropped the paper money.“How was I to know?” she asked Precious Jade meekly. “If you tell the old lady, Second Master, it will be the end of me! I’ll go and tell the mistresses that I made a mistake—it was you burning sacrificial paper.” “Don’t say anything about it and I won’t tell her,” he promised. “But I’ve already reported it, and they ordered me to take her there. How can I say nothing? All right, I’ll tell them Miss Lin sent for her.” Precious Jade thought for a while then nodded, and the woman went away. Then he asked again: “Whom was the offering for? I’m sure it can’t have been for your own people, as in that case you’d have asked others to burn it for you. There must be a story behind it.” Actress Lotus-root, grateful for his championship, began to feel that they were kindred spirits. Tears sprang to her eyes.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:32, 30 May 2022 (UTC)

==英语笔译刘珍 Liu Zhen 202170081588==

“我这事，除了你屋里的芳官合宝姑娘的蕊官，并没第三个人知道。今日忽然被你撞见，这意思，少不得也告诉了你，只不许再对一人言讲。”又哭道：“我也不便和你面说，你只回去，背人悄悄问芳官就知道了。”说毕，怏怏而去。宝玉听了，心下纳闷，只得踱到潇湘馆瞧黛玉，越发瘦得可怜，问起来，比往日大好了些。黛玉见他也比先大瘦了，想起往日之事，不免流下泪来，些微谈了一谈，便催宝玉去歇息调养。宝玉只得回来。因惦记着要问芳官原委，偏有湘云香菱来了，正和袭人芳官一处说笑，不好叫他，恐人又盘诘，只得耐着。

"Besides myself there are only two other people in the world who know about this: Fragrant Official in your room and Etamine in Miss Bao's.After what happened today, I think I shall have to let you be a third; but you must promise never to speak about it to anyone else.”She slipped away then, leaving him full of curiosity. Precious Jade was very puzzled as he went on to Bamboo Lodge.He found Mascara Jade looking more pathetically frail than ever, although she insisted that her health was much better.She saw that he too was much thinner, and could not help shedding tears at the thought of the reason. After a brief chat she urged him to go back and rest,He left reluctantly, not knowing quite where to go.he was anxious to ask Parfumee about Nenuphar's secret, but Fragrant-cloud and Caltrop had just arrived and were engaged in lively conversation with her and Aroma in the adjoining room. Fearing that if he called her to him the others might ask questions, he resolved to be patient.

"Besides myself there are only two other people in the world who know about this: your Fragrant Official and Miss Bao's Etamine.After what happened today, I think I shall have to let you be a third; but you must promise never to speak about it to anyone else.”She slipped away then, leaving him full of curiosity. Precious Jade was very puzzled as he went on to Bamboo Lodge.He found Mascara Jade looking more pathetically frail than ever, although she insisted that her health was much better.She saw that he too was much thinner, and could not help shedding tears at the thought of the reason. After a brief chat she urged him to go back for a rest,He left reluctantly, not knowing quite where to go.he was anxious to ask Parfumee about Nenuphar's secret, but Fragrant-cloud and Caltrop had just arrived and were engaged in lively conversation with her and Aroma in the adjoining room. Fearing that if he called her to him the others might ask questions, he resolved to be patient.--[[User:Ma Yanhuan|Ma Yanhuan]] ([[User talk:Ma Yanhuan|talk]]) 02:34, 2 June 2022 (UTC)

==英语笔译马艳焕 Ma Yanhuan 202170081591==

一时芳官又跟了他干娘去洗头，他干娘偏又先叫他亲女儿洗过才叫芳官洗。芳官见了这般，便说他偏心：“把你女儿的剩水给我洗。我一个月的月钱都是你拿着，沾我的光不算，反倒给我剩东剩西的！”他干娘羞愧变成恼，便骂他：“不识抬举的东西！怪不得人人都说戏子没一个好缠的，凭你什么好的，入了这一行，都学坏了。这一点子小崽子，也挑幺挑六，咸嘴淡舌，咬群的骡子似的！”娘儿两个吵起来。袭人忙打发人去说：“少乱嚷！瞅着老太太不在家，一个个连句安静话也都不说了。”
At this time, Fragrant Official followed his godmother to wash his hair, and his adopted mother asked her own daughter to wash before Fragrant Official washed.
When Fragrant Official saw this, he said that she was partial: "You actually let me wash my hair with your daughter's leftover water. You take all my money every month, which takes advantage of me, but give me what's leftover! " His mother turned from shame to annoyance, so she scolded him: "Unappreciative guy！" No wonder everyone says that there is no one actor who is easy to be entangled with. Since you who had been a kind child entered this profession, you became a bad one. You little jerk should be choosy and wag your jaw like a rogue mule." They quarreled. Aroma hurriedly sent someone to say, "Don't shout! Seeing that Grandma Merchant was not at home, you didn't even keep quiet. "

At that time, Fragrant Official followed his foster mother to wash her hair, but her foster mother asked her own daughter to wash before Fragrant Official. Then she accused her of being partial: " You actually let me wash my hair with your daughter's leftover water. You take all my money every month. You are taking advantage of me, but you always give me what's leftover!" Her mother turned from shame to annoyance, so she scolded her: " Unappreciative guy! No wonder everyone says that there is no one actor who is easy to be entangled with. No matter how good you are, as long as you entered this profession, you will definitely become a bad one. You little jerk should be choosy and wag your jaw like a rogue mule." Then they had a big quarrel. Aroma hurriedly sent someone to say, " Don't shout! Seeing that Grandma Merchant was not at home, you didn't even keep quiet now. "--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 13:54, 28 May 2022 (UTC)

==英语笔译聂薇 Nie Wei 202170081592==

晴雯因说：“这是芳官不省事，不知狂的什么？也不过是会两出戏，倒像杀了贼王、擒过反叛来的！”袭人道：“‘一个巴掌拍不响’，老的也太不公些，小的也太可恶些。”宝玉道：“怨不得芳官！自古说：‘物不平则鸣’。他少亲少眷的在这里，没人照看；赚了他的钱。又作践他，如何怪得！”又向袭人说：“他到底一月多少钱？以后不如你收了过来照管他，岂不省事？”袭人道：“我要照看他，那里不照看了？又要他那几个钱才照看他？没的招人骂去了。”

Then Sunny Cloud said, “ Fragrant Official is to blame for arousing this trouble. How could she be so arrogant? All that she knows is how to act in a couple of plays, but why did she act like she has ever killed a thief or crushed the rebellion?” But Aroma refuted, “ As the old saying goes, ‘It takes two to make a quarrel’. Her mother was too unfair to her, while she was too detestable.” Then Precious Jade said, “ We should not blame her. Injustice provokes outcry. She is alone here, without any relatives or anyone taking care of her. Now that her foster mother took away her money, but ill-treated her, how can we blame her for acting like this？” He continued to speak to Aroma, “ How much money does she get every month? Why don’t you get her money and take care of her from now on? Won’t it save much trouble?” But Aroma said, “ I’m taking care of her all the time. When did I miss my job? What’s the point of doing this with taking her money away? It will do nothing good to me except for courting others’ curse.”

Then Sunny Cloud Formation said, “ Fragrant Official is to blame for arousing this trouble. How could she be so arrogant? All that she knows is how to perform in a couple of plays, but why did she act like she has ever killed a thief or crushed the rebellion?” But Aroma refuted, “ As the old saying goes, ‘It takes two to make a quarrel’. Her mother treated her unfairly, while she was too detestable.” Then Precious Jade said, “ We should not blame her. Injustice provokes outcry. She is alone here, without any relatives or anyone taking care of her. Now that her foster mother took away her money, but ill-treated her, how can we blame her for acting like this？” He continued to speak to Aroma, “ How much money does she get every month? Why don’t you get her money and take care of her from now on? Won’t it save much trouble?” But Aroma said, “ I’m taking care of her all the time. When did I miss my job? What’s the point of doing this with taking her money away? It will do nothing good to me except for courting others’ curse.”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:51, 28 May 2022 (UTC)

==英语笔译孙丽君 Sun Lijun 202170081593==

说着，便起身至那屋里，取了一瓶花露油、鸡蛋、香皂、头绳之类，叫了一个婆子来：“送给芳官去，叫他另要水自洗，不要吵闹了。”他干娘越发羞愧，便说芳官“没良心！只说我克扣你的钱！”便向他身上拍了几下，芳官便哭起来。宝玉便走出来，袭人忙劝：“做什么？我去说他。”晴雯忙先过来，指他干娘说道：“你这么大年纪，太不懂事！你不给他好好的洗，我们才给他东西。你自己不臊，还有脸打他！他要是还在学里学艺，你也敢打他不成？”那婆子便说：“‘一日叫娘，终身是母。’他排揎我，我就打得！”

While speaking, Aroma stood up and headed for that room to fetch back a bottle of essential oil extracted from floral water, some eggs, toilet soap, sheadlines alike. Then she found a granny and ordered, “Just bring those stuff to Fragrant Official, tell him to have a bath with clean water and stop kicking up a row.” Becoming terribly ashamed, his adopted mother just said to Fragrant Official, “You brute! All you can say is I short-charge you!” While speaking, she patted Fragrant Official a few times, inviting his crying out. Therefore, Precious Jade just came out, and Aroma just stopped him, “What are you doing? Let me exhort him.” Hurriedly rushing there at once, Sunny Cloud Formation pointed to Fragrant Official’s adopted mother and said, “Well then, you’ve come to such an old age, and you still don’t know how to behave properly! We’ve just offered something for him and you don’t help with his bathing well. Even you don’t feel bashful to beat him! If he stills learns an artistic skill now, don’t you dare hit him?” That woman just replied, “As a common saying goes, ‘Once you call me mother, then I’ll be your mother for the whole life.’ If he yells at me, then I can beat him.”

While speaking, Aroma stood up and headed for that room to fetch back a bottle of floral water, some eggs, toilet soaps, hair bands alike. Then she found a granny and ordered, “Just bring those stuff to Fragrant Official, and tell her to get some water to wash her hair and stop kicking up a row.” Becoming terribly ashamed, her adopted mother just said to Fragrant Official, “You brute! All you can do is to tell others that I pocket your wages!” While speaking, she patted Fragrant Official a few times, inviting his crying out. Therefore, Precious Jade just came out, and Aroma stopped him in a rush, “What are you doing? Let me exhort her.” Hurriedly rushing there at once, Sunny Cloud Formation pointed to Fragrant Official’s adopted mother and said, “Well then, you’ve come to such an old age, and you still don’t know how to behave properly! As you don’t wash her hair well, so we just offered something for her. You're not ashamed of yourself but have the nerve to beat her! If she still learns an artistic skill now, don’t you dare hit her?” That woman just replied, “As a common saying goes, ‘Once you call me mother, then I’ll be your mother for the whole life.’ If she yells at me, then I can beat her.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 06:44, 30 May 2022 (UTC)

==英语笔译仝雨梦 Tong Yumeng 202170081594==

袭人唤麝月道：“我不会和人拌嘴，晴雯性太急，你快过去震吓他两句。”麝月听了，忙过来说道：“你且别嚷。我且问你：别说我们这一处，你看满园子里，谁在主子屋里教导过女儿的？就是你的亲女儿，既经分了房，有了主子，自有主子打骂；再者，大些的姑娘姐姐们也可以打得骂得，谁许你老子娘又半中间管起闲事来了！都这样管，又要叫他们跟着我们学什么？越老越没了规矩！你见前日坠儿的妈来吵，你如今也来跟他学！你们放心，因连日这个病那个病，再老太太又不得闲，所以我也没有去回。

Listening to that, Aroma asked Musk Deer Month for help: "I'm clumsy in quarreling with others, and Sunny Cloud Formation has an impatient disposition. Now you go there and frighten her with your words." Hearing that, Musk Deer Month came here in a rush and said, "Hold on a second. Let me ask you: In the Grand View Garden, have you ever seen anyone lecturing their daughter in the master's house? Let alone in our house. Even if Fragrant Official is your own daughter, she has been assigned to a master who will naturally beat her if she makes mistakes; besides, the older sisters and girls in this house are also eligible to do so, in this way, who allowed you to meddle in this business? If all people act like you, how can these little girls learn from us? The older you get, the less rules you have! Witnessing Lassock Drop's mother wrangling here few days ago, so you followed her example today! Trust me, I haven't reported this matter since the ladies fell ill in succession and Grandma Merchant was so busy.

Aroma told Musk, “I’m no good at arguing, and Sunny Cloud Formation’s too hot-tempered. Why don’t you go and give her a good scare?”Hearing that, Musk Deer Month came here in a rush and said, "Hold on a second. Let me ask you: In the Grand View Garden, have you ever seen anyone lecturing their daughter in the master's house? Let alone in our house. Even if Fragrant Official is your own daughter, she has been assigned to a master who will naturally beat her if she makes mistakes; besides, the older sisters and girls in this house are also eligible to do so, in this way, who allowed you to meddle in this business? If all people act like you, how can these little girls learn from us? The older you get, the less rules you have! Witnessing Lassock Drop's mother wrangling here few days ago, so you followed her example today! Trust me, I haven't reported this matter since the ladies fell ill in succession and Grandma Merchant was so busy.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 11:36, 29 May 2022 (UTC)

==英语笔译童略雅 Tong Lueya 202170081595==

等两日咱们去痛回一回，大家把这威风煞一煞儿才好呢！况且宝玉才好了些，连我们也不敢说话，你反打得人狼号鬼叫的！上头出了几日门，你们就无法无天的，眼珠子里就没了人了。再两天，你们就该打我们了。他不要你这干娘，怕粪草埋了他不成？”宝玉恨得拿拄杖打着门槛子说道：“这些老婆子都是铁心石肠是的，真是大奇事！不能照看，反倒折挫他们。地久天长，如何是好？”晴雯道：“什么‘如何是好’？都撵了出去，不要这些‘中看不中吃的’！”那婆子羞愧难当，一言不发。

In a couple of days I shall make a full report,and that will take the wind out of your sails.Precious Jade’s just getting better, and we’ve all been trying to keep our voices down; yet you raise a rumpus fit to wake the dead.If the higher-ups are away just a few days,you lot run completely wild with no respect for anyone at all.In another day or two,I suppose,you’ll be slapping us as well. She doesn’t need a foster-mother like you to muck her up!”Precious Jade,in the doorway,pounded the sill with his cane.“How can these old women be so heartless?”he fumed.“Fantastic! Instead of looking after the girls in their charge, they torment them. If this goes on, what’s to be done?”“What’s to be done?”echoed Sunny Cloud Formation.“Drive all those humbugs out,I say.We don’t need such good-for-nothings here.”The woman was too deflated to say a word.

In a couple of days I shall make a full report, and that will take the wind out of your sails.Precious Jade’s just getting better, and we’ve all been trying to keep our voices down; yet you raise a rumpus fit to wake the dead.If the higher-ups are away just a few days, you lot run completely wild with no respect for anyone at all.In another day or two,I suppose, you’ll be slapping us as well. She doesn’t need a foster-mother like you to muck her up!”Precious Jade,in the doorway, pounded the sill with his cane.“How can these old women be so heartless?” Precious Jade was so angry that he banged on the threshold with his stick. ‘These old women have hearts of stone.he fumed.“Fantastic! Instead of looking after the girls in their charge, they torment them. If this goes on, what’s to be done?”“What’s to be done?” echoed Sunny Cloud Formation.“Drive all those humbugs out,I say.We don’t need such good-for-nothings here.” The woman, shamed into silence by Musk's tirade, made no reply.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:28, 29 May 2022 (UTC)

==英语笔译庹树梅 Tuo Shumei 202170081596==

那芳官只穿着海棠红的小棉袄，底下绿绸洒花夹裤，敞着裤脚，一头乌油似的头发披在脑后，哭得泪人一般。麝月笑道：“把个莺莺小姐反弄成才拷打完的红娘了！这会子又不妆扮了，还是这么着？”晴雯因走过去拉了他，替他洗净了发，用手巾拧干，松松的挽了一个慵妆髻；命他穿了衣服，过这边来。接着司内厨的婆子来问：“晚饭有了，可送不送？”小丫头听了，进来问袭人。袭人笑道：“方才胡吵了一阵，也没留心听得，几下钟了？”晴雯道：“这劳什子又不知怎么了，又得去收拾！”

Meanwhile, Fragrant Official, wearing only a cerise padded jacket and flowered green silk lined-trousers, loose around the ankles, her glossy black hair streaming over her shoulders, had given way to floods of tears. It was a spectacle so different from her more familiar stage appearances that Musk could not help laughing at its incongruousness: ‘I must say, you don't look much like Cui Ying-ying at the moment. Reddie after her beating, though: now that's a part you could play without having to make up for it!” Skybright led Parfumee away and washed her hair for her. When she had toweled it dry, she did it up for her in a ‘lazy knot' and told her to go back to Precious Jade 's room when she had finished dressing. The old kitchen-maids now reported that dinner was ready, and asked whether it should be sent in or not. One of the junior maids went inside to ask Aroma. With all that racket just now I forgot to listen for the clock,” she said. “What time is it? It didn't,' said Skybright. ‘The wretched thing needs repairing again, I don't know why.”

Meanwhile, Fragrant Official, wearing only a cerise padded jacket and flowered green silk lined-trousers, loose around the ankles, her glossy black hair streaming over her shoulders, had given way to floods of tears. It was a spectacle so different from her more familiar stage appearances that Musk could not help laughing at its incongruousness: ‘I must say, you don't look much like Cui Ying-ying at the moment. Reddie after her beating, though: now that's a part you could play without having to make up for it!” Skybright led Parfumee away and washed her hair for her. When she had toweled it dry, she did it up for her in a ‘lazy knot' and told her to go back to Precious Jade 's room when she had finished dressing. The old kitchen-maids now reported that dinner was ready, and asked whether it should be sent in or not. One of the junior maids went inside to ask Aroma. With all that racket just now I forgot to listen for the clock,” she said. “argued for a while, and did not pay attention to time, a few timesWhat time is it? It didn't,' said Skybright. ‘The wretched thing needs repairing again, I don't know why.”--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:34, 30 May 2022 (UTC)

==英语笔译王思琪 Wang Siqi 202170081597==

说着，拿过表来瞧了一瞧，说道：“再略等半钟茶的工夫就是了。”小丫头去了。麝月笑道：“提起淘气来，芳官也该打两下儿，昨日是他摆弄了那坠子半日，就坏了。”说话之间，便将食具打点现成。一时小丫头子捧了盒子进来站住。晴雯麝月揭开看时，还是这四样小菜。晴雯笑道：“已经好了，还不给两样清淡菜吃！这稀饭咸菜闹到多早晚？”一面摆好，一面又看那盒中，却有一碗火腿鲜笋汤，忙端了放在宝玉跟前。宝玉便就桌上喝了一口，说道：“好汤！”众人都笑道：“菩萨，能几日没见荤腥儿，馋得这样起来？”

Saying that, he took a look at his watch and said, "Just wait for half an hour for tea." "The little girl went. Musk smiled, "When it comes to naughtiness,
Fragrant Official should also hit it twice, yesterday he fiddled with the pendant for half a day, and it broke." Between words, he made some ready-made utensils. At a moment the little girl took the box and came in and stood still. When Skybright Musk Moon was unveiled, it was still these four small dishes. Skybright smiled and said, "It's already good, don't give two light vegetables to eat!" How early and late is this porridge pickle? While laying it out, while looking at the box, there was a bowl of ham fresh bamboo shoot soup, which was busy serving it in front of Precious Jade. Precious Jade took a sip on the table and said, "Good soup! Everyone laughed and said, "Bodhisattva, how many days have you not seen a meaty child, and you are so hungry?" ”

Saying that, he took a look at his watch and said, "Just wait for half an hour for tea." "The little girl went. Musk smiled, "When it comes to naughtiness,
Fragrant Official should also hit him, yesterday he fiddled with the pendant for half a day, and it broke." Between words, he made some ready-made utensils. At a moment the little girl took the box and came in and stood still. When Skybright Musk Moon was unveiled, it was still these four small dishes. Skybright smiled and said, "It's already good, don't give two light vegetables to eat!" How early and late is this porridge pickle? While laying it out, while looking at the box, there was a bowl of ham fresh bamboo shoot soup, which was busy serving it in front of Precious Jade. Precious Jade took a sip on the table and said, "Good soup! Everyone laughed and said, "Bodhisattva, how many days have you not seen a meaty child, and why you are so hungry?”--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 05:08, 1 June 2022 (UTC)

==英语笔译王亚娟 Wang Yajuan 202170081598==

一面说，一面端起来，轻轻用口吹着。因见芳官在侧，便递与芳官，说道：“你也学些服侍，别一味傻玩傻睡。口儿轻着些，别吹上唾沫星儿。”芳官依言果吹了几口，甚妥。他干娘也端饭在门外伺候，向里忙跑进来，笑道：“他不老成，仔细打了碗，等我吹罢。”一面说，一面就接。晴雯忙喊道：“快出去！你让他砸了碗，也轮不到你吹！你什么空儿跑到里槅子来了？”一面又骂小丫头们：“瞎了眼的！他不知道，你们也不说给他！”小丫头们都说：“我们撵他不出去，说他又不信，如今带累我们受气，这是何苦呢！你可信了？

As he spoke, he picked it up and blew it gently. Seeing Fragrant Official at his side, he handed him over and said, "You have to learn to serve others. Don't just play and sleep. Keep your mouth quiet, and don't spit." Fragrant Official blew a few mouthfuls of the fruit according to his words. His foster mother also served at the door, rushed in to the inside, said with a smile: "He is not old, carefully bowl, wait for me to blow. As he spoke, he answered. Skybright quickly shouted: "Get out! Even he breaks the bowl, you are not qualified to blow it either! Okay, well, when did you get up?" "Blind! Blind! He doesn't know, and you won't tell him!" The girls said, "Why is it that we have brought this burden on us because we won't let him out because he doesn't believe us? Can you be trusted?

She took the bowl and blew gently at the film of oil on the surface. Then, noticing Fragrant Official standing near by, she passed the bowl to her. "You can do this," she said. "Time you learned to make yourself useful, instead of acting like a silly goose. Mind you blow gently though. Don't spit into the soup." Fragrant Official did as she was told, and was managing quite well, when in rushed her foster-mother who had been waiting outside with the rice. Now when Fragrant Official and the others first arrived they had been assigned foster-mothers outside, who had later accompanied them to Pear Fragrance Court. This woman had originally been a third-class servant in the Rong Mansion, only doing some laundry work and never entering the inner apartments, so that she did not know the rules of the house. Once the actresses were taken into the Garden, however. their foster-mothers had gone with them to the different apartments. After being told off by Sheyue, this woman was afraid that she might not be allowed to remain in charge of Fragrant Official, and that would be very much to her disadvantage. So she was determined now to win them round. Seeing Fragrant Official blowing on the soup, she hurried in. "Let me do that!' she cried with a smile. "She's so green she may break the bowl.' She reached out for it. "Get out!' shouted Sunny Cloud Formation. "Even if you make her smash it, this is no job for you. How dare you sneak into this room? Out you go at once!' She scolded the younger maids, "Are you all blind? If she doesn't know any better, you should have told her." "We tried to chase her away but she wouldn't go, they protested. "She didn't believe us. And now she's got us into trouble too." They rounded on the woman. "Now do you believe us?--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:24, 29 May 2022 (UTC)

==英语笔译肖冬晴 Xiao Dongqing 202170081599==

我们到的地方儿，有你到的一半儿，那一半儿是你到不去的呢！何况又跑到我们到不去的地方还不算，又去伸手动嘴的了。”一面说，一面推他出去。阶下几个等空盒家伙的婆子见他出来，都笑道：“嫂子也没有‘用镜子照一照’，就进去了！”羞得那婆子又恨又气，只得忍耐下去了。芳官吹了几口，宝玉笑道：“你尝尝，好了没有？”芳官当是玩话，只是笑着看袭人等。袭人道：“你就尝一口何妨？”晴雯笑道：“你瞧我尝。”说着便喝一口。芳官见如此，他便尝了一口，说：“好了。”

Half the places we’re allowed in are out of bounds to you, yet here you come bursting in where even we are forbidden to go. As if that weren’t enough, you now start reaching out and opening your big mouth!" They bundled the woman off. The matrons waiting at the foot of the steps for the hampers greeted her with mocking laughter. "You should have looked in the mirror before butting in there, sister," one of them sniggered. The woman, torn between rage and shame, had to control herself as best she could. By now, Fragrant Official had blown on the soup several times. "That’ll do," said Precious Jade. "Don’t tire yourself. Taste it to see if it’s cool enough." Thinking he must be joking, she turned with a smile to Aroma and the other girls. "Go on, taste it,” urged Aroma. "Let me show you," offered Sun Cloud Formation, then took a sip. Fragrant Official followed her example."It’s all right," she said.

Half the places we’re allowed in are out of bounds to you, yet here you come bursting in where even we are forbidden to go. As if that weren’t enough, you now start reaching out and opening your big mouth!" They bundled the woman off. The matrons waiting at the foot of the steps for the hampers greeted her with mocking laughter. "You should have looked in the mirror before butting in there, sister," one of them sniggered. The woman, torn between rage and shame, had to control herself as best she could. By now, Fragrant Official had blown on the soup several times. "That’ll do," said Precious Jade. "Don’t tire yourself. Taste it to see if it’s cool enough." Thinking he must be joking, she turned with a smile to Aroma and the other girls. "Go on, taste it,” urged Aroma. "Let me show you," offered Sun Cloud Formation, then took a sip. "It's all right." she said, and handed Precious Jade the bowl. --[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:01, 31 May 2022 (UTC)

==英语笔译肖佳莉 Xiao Jiali 202170081600==

递与宝玉，喝了半碗，吃了几片笋，又吃了半碗粥，就罢了。众人便收出去。小丫头捧沐盆，盥漱毕，袭人等去吃饭。宝玉使个眼色与芳官，芳官本来伶俐，又学几年戏，何事不知。便装肚子疼，不吃饭了。袭人道：“既不吃，在屋里做伴儿。把粥留下，你饿了再吃。”说着都去了。宝玉将方才见藕官，如何谎言护庇，如何藕官叫我问你，细细的告诉一遍，又问：“他祭的果系何人？”芳官听了，眼圈儿一红，又叹一口气，道：“这事说来，藉官儿也是胡闹。”宝玉忙问：“如何？”芳官道：“他祭的就是死了的药官儿。”

Precious Jade Merchant drank about half the soup, ate a few pieces of bamboo-shoot, consumed half a bowlful of the gruel, and declared himself satisfied. The servants cleared away. A little maid came in with a wash-bowl. After he had washed his hands and rinsed his mouth out, it was Aroma's and the other senior maids' turn to have their dinner. Precious Jade Merchant signaled at this point to Fragrant Official. And since she was quick in the uptake and had learned a good deal in her few years as an actress, She had a stomach-ache, she told them. She didn't feel like any dinner. “Then you may as well stay here and keep him company,” said Aroma. “I'll leave you the gruel, in ease you feel like it later.” Precious Jade Merchant was now able to tell Fragrant Official about his encounter with Actress Lotus-root - how he had lied to protect her and how, feeling unable to answer his question herself, she had referred him to Fragrant Official for an explanation. “For whom were those offerings?” he asked. Fragrant Official's eyes reddened slightly and she sighed. ‘Oh, Actress Lotus-root is crazy.” Why?” said Precious Jade Merchant. “What do you mean?”“ It was for Pivoine,”said Fragrant Official, “the girl in our troupe who died.”

She passed the soup to Precious Jade, who drank about half a bowl and ate a few pieces of bamboo-shoot with half a bowlful of the gruel, and declared himself satisfied. The servants cleared away. A little maid came in with a wash-bowl. After he had washed his hands and rinsed his mouth out, it was Aroma's and the other senior maids' turn to have their dinner. Precious Jade signaled at this point to Fragrant Official. And since she was quick in the uptake and had learned a good deal in her few years as an actress, she had a stomach-ache, she told them. She didn't feel like any dinner. “Then you may as well stay here and keep him company,” said Aroma. “I'll leave you the gruel, in ease you feel like it later.” Precious Jade was now able to tell Fragrant Official about his encounter with Actress Lotus-root - how he had lied to protect her and how, feeling unable to answer his question herself, she had referred him to Fragrant Official for an explanation. “For whom were those offerings?” he asked. Fragrant Official's eyes reddened slightly and she sighed. ‘Oh, Actress Lotus-root is crazy.” Why?” said Precious Jade. “What do you mean?”“ It was for Pivoine,”said Fragrant Official, “the girl in our troupe who died.” --[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 08:54, 1 June 2022 (UTC)

==英语笔译谢晓莹 Xie Xiaoying 202170081601==

宝玉道：“他们两个也算朋友，也是应当的。”芳官道：“那里又是什么朋友哩？那都是傻想头，他是小生，药官是小旦，往常时，他们扮作两口儿，每日唱戏的时候，都装着那么亲热，一来二去，两个人就装糊涂，倒像真的一样儿。后来两个竟是你疼我，我爱你。药官儿一死，他就哭的死去活来的，到如今不忘，所以每节烧纸。后来补了蕊官，我们见他也是那样，就问他：‘为什么得了新的就把旧的忘了？’他说：‘不是忘了，比如人家男人死了女人，也有再娶的，只是不把死的丢过不提就是有情分了。’你说他是傻不是呢？”

Precious Jade said, “Why not, if they were friends?” Fragrant Official said, “They weren’t just ordinary friends. Ouguan had the fantastic notion that as she used to play young men and Diguan young ladies, and as they were often cast as husband and wife, although it was make-believe they should act the part every day as if they were really in love. So they became so crazy about each other that even offstage they were for ever together. In the end they were so devoted that when Diguan died she nearly cried her heart out, and to this day she’s never forgotten her. That’s why she burns paper money at all the festivals. When Actress Pistil later took Diguan’s place, we found that Ouguan was just as attached to her. ‘Has your new sweetheart made you forget the old one?’ we asked. ‘No, but there’s a very good reason for this,’ she told us. ‘I’m like a widower who marries again. If he doesn’t forget his first wife, he’s still true to her. But if he insists on remaining single all the rest of his life, that’s against the rules of propriety too, and how could his dead wife rest in peace in her grave?‘ Don’t you call that crazy and senseless? It’s really ridiculous!”

Precious Jade said, “Why not, if they were friends?” Fragrant Official replied, “They weren’t just ordinary friends. Ouguan had the fantastic notion that as she used to play young men and Diguan young ladies, and as they were often cast as husband and wife, although it was make-believe they should act the part every day as if they were really in love. So they became so crazy about each other that even offstage they were for ever together. In the end they were so devoted that when Diguan died she nearly cried her heart out, and to this day she’s never forgotten her. That’s why she burns paper money at all the festivals. When Actress Pistil later took Diguan’s place, we found that Ouguan was just as attached to her. ‘Has your new sweetheart made you forget the old one?’ we asked. ‘No, but there’s a very good reason for this,’ she told us. ‘I’m like a widower who marries again. If he doesn’t forget his first wife, he’s still true to her. But if he insists on remaining single all the rest of his life, that’s against the rules of propriety too, and how could his dead wife rest in peace in her grave?‘ Don’t you call that crazy and senseless? It’s really ridiculous!”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 08:59, 1 June 2022 (UTC)

==英语笔译熊嘉玲 Xiong Jialing 202170081602==

宝玉听了这呆话，独合了他的呆性，不觉又欢又悲，又称奇道绝，拉着芳官嘱咐道：“既如此说，我有一句话嘱咐你，须得你告诉他：以后断不可烧纸，逢时按节，只备一炉香，一心虔诚，就能感应了。我那案上也只设着一炉，我有心事，不论日期，时常焚香；随便新茶新水，就供一盏；或有鲜花鲜果，甚至荤腥素菜都可。只要敬心，不在虚名。以后快命他不可再烧纸！”芳官听了，便答应着；一时吃过粥，便有人回：“老太太回来了。”要知端的，且看下回分解。
◎第五十九回柳叶渚边嗔莺叱燕绛芸轩里召将飞符

However, foolish Precious Jade heard such foolish talk. He exclaimed in wonder, torn between sadness and joy. He took Fragrant Official's hand and urged her, “If that’s how things are, you must tell her something from me. ” “What is it?’”asked Fragrant Official.“In future, she mustn’t burn paper coins. At all future festivals she need only burn some incense in a censer; and if her heart is pure, Diguan’s spirit will know it. There is a censer on my desk. Whenever I miss some dead friend, whatever the date, I burn incense and offer some fresh water or tea, or maybe flowers or fruit, or even meat or vegetables. As long as your heart is pure, Buddha himself will come to the sacrifice. That’s why we say: ‘It’s the intention that counts, not the empty form.’ So go presently and tell her not to burn any more paper money in future.”Fragrant Official promised to do this and then had the rice gruel. Just at that moment someone announced that Their Ladyships were back. To know what happened after, read the next chapter. Chapter 59 Yinger and Chunyan Are Scolded by Willow Bank And Red Rue Studio Sends for Reinforcements

However, foolish Precious Jade heard such foolish talk. He exclaimed in wonder, torn between sadness and joy. He took Fragrant Official's hand and urged her, “If that’s how things are, you must tell her something from me. ” “What is it?’”asked Fragrant Official.“In future, she mustn’t burn paper coins. At all future festivals she need only burn some incense in a censer; and if her heart is pure, Diguan’s spirit will know it. There is a censer on my desk. Whenever I miss some dead friend, whatever the date, I burn incense and offer some fresh water or tea, or maybe flowers or fruit, or even meat or vegetables. As long as your heart is pure, Buddha himself will come to the sacrifice. That’s why we say: ‘It’s the intention that counts, not the empty form.’ So go presently and tell her not to burn any more paper money in future.”Fragrant Official promised to do this and then had the rice gruel. Just at that moment someone announced that Their Ladyships were back. To know what happened after, read the next chapter.
Chapter 59 Yinger and Chunyan Are Scolded by Willow Bank And Red Rue Studio Sends for Reinforcements--[[User:Yang Xinyi|Yang Xinyi]] ([[User talk:Yang Xinyi|talk]]) 09:40, 1 June 2022 (UTC)

==英语笔译杨心怡 Yang Xinyi 202170081604==

话说宝玉闻听贾母等回来，随多添了一件衣服，拄了杖前边来，都见过了。贾母等因每日辛苦，都要早些歇息，一宿无话。次日五更，又往朝中去。离送灵日不远，鸳鸯、琥珀、翡翠、玻璃四人，都忙着打点贾母之物；玉钏、彩云、彩霞皆打点王夫人之物；当面查点与跟随的管事媳妇们。跟随的一共大小六个丫鬟，十个老婆媳妇子，男人不算。连日收拾驮轿器械。鸳鸯与玉钏儿皆不随去，只看屋子。一面先几日预备帐幔铺陈之物，先有四五个媳妇并几个男子领了出来，坐了几辆车绕道，先至下处，铺陈安插等候。
It was said that when Baoyu heard that Mother Jia was waiting for her return, she added an extra piece of clothes, leaned on a cane and came forward, and she had seen it all. Jia Mu and others had to rest early because of their hard work every day, and they were speechless all night. At the fifth watch the next day, we went to the DPRK again. Not far from the day of the funeral, Yuanyang, Amber, Emerald, and Glass were all busy arranging things for Jia Mu; Yuchuan, Caiyun, and Caixia all arranged things for Mrs. Wang; they checked and followed the stewards and daughters-in-law in person. There are a total of six maids, ten wives and daughters-in-law, not counting men. Packing up the sedan chair for days. Yuanyang and Yuchuan'er did not follow, they only looked at the house. On the one hand, they prepared the curtains for a few days. First, four or five daughters-in-law and a few men led them out. They took a few cars to make a detour, and went down to the next place first, where they laid out the arrangements and waited.
It was said that when Baoyu heard that Mother Jia was waiting for her return, she added an extra piece of clothes, leaned on a cane and came forward, and she had seen it all. Jia Mu and others had to rest early because of their hard work every day, and they were speechless all night. At the fifth watch the next day, we went to the DPRK again. Not far from the day of the funeral, Yuanyang, Amber, Emerald, and Glass were all busy arranging things for Jia Mu; Yuchuan, Caiyun, and Caixia all arranged things for Mrs. Wang; they checked and followed the stewards and daughters-in-law in person. There are a total of six maids, ten wives and daughters-in-law, not counting men. Packing up the sedan chair for days. Yuanyang and Yuchuan'er did not follow, they only looked at the house. On the one hand, they prepared the curtains for a few days. First, four or five daughters-in-law and a few men led them out. They took a few cars to make a detour, and went down to the next place first, where they laid out the arrangements and waited.
--[[User:Yang Ziwei|Yang Ziwei]] ([[User talk:Yang Ziwei|talk]]) 05:47, 2 June 2022 (UTC)

==英语笔译杨紫微 Yang Ziwei 202170081605==

临日，贾母带着贾蓉媳妇坐一乘驮轿，王夫人在后，亦坐一乘驮轿；贾珍骑马，率了众家丁围护；又有几辆大车，与婆子丫鬟等坐，并放些随换的衣包等件。是日薛姨妈尤氏率领诸人直送至大门外方回。贾琏恐路上不便，一面打发他父母起身，赶上贾母王夫人驮轿，自己也随后带领家丁押后跟来。荣府内，赖大添派人丁上夜，将两处厅院都关了，一应出入人等皆走西边小角门；日落时，便命关了仪门，不放人出入；园中前后东西角门亦皆关锁，只留王夫人大房之后常系他姊妹出入之门，东边通薛姨妈的角门：这两门因在里院，不必关锁；

On the next day, Grandma Merchant took Prosperity Merchant, her daughter-in-law, to sit in a pack sedan, and Lady King followed who sat in another one. Treasure Merchant rode a horse and led servants for protection. There were several carts for nannies and servant girls, and some clothes and bags to change at any time were also put in it. That day Aunt Marshgrass and Madam You led all people see them out of the gate before coming back. Fearing that the journey might be inconvenient, Romance Merchant sent his parents on their way to catch the sedan chair of Lady King and Grandma Merchant, then he caught up later who followed by servants. Inside Rong House, Big Rely sent more servants to keep watch at night and asked them to close the two halls and courtyards, and all people who came and went through the small corner gate on the west side. At sunset, he ordered to shut down the ceremony door so that no one would go in or out. The front, rear, east and west corner doors of the garden were also locked, except for the door of Lady King's main room which was for her sisters’ use. As for corner doors which opened to the east towards Aunt Marshgrass’s room, they did not need to be locked because they were in the inner garden.

When the day came, Grandma Merchant and Prosperity’s wife took a horse-borne litter, and Lady King followed them behind. Treasure Merchant rode a horse and led servants for protection. There were several big carts for serving-women and young maids which also carried changes of clothing. That day Aunt Marshgrass and Madam You saw them off from outside of the main gate with the rest of serving-women. Fearing that the journey might be inconvenient, Romance Merchant sent his parents on their way and caught up with the litters which Lady King and Grandma Merchant sat, and then followed the escort. In Rong House, Big Rely sent more servants to keep watch at night and asked them to close the two main gates and all people who came and went passed the small corner gate on the west side. At sunset, he ordered to shut down the ceremonial door, allowing no entrance or exit. The front and back slide gates and those to the east and west of the garden were also locked, except for the door of Lady King’s main room which was used by the girls. As for corner doors which opened to the east towards Aunt Marshgrass’s room, they did not need to be locked because they were in the inner garden.--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 12:55, 28 May 2022 (UTC)

==英语笔译张国浩 Zhang Guohao 202170081606==

里面鸳鸯和玉钏儿也将上房关了，自领丫鬟婆子下房去歇；每日林之孝家的带领十来个老婆子上夜，穿堂内又添了许多小厮更打：已安插得十分妥当。一日清晓，宝钗春困已醒，搴帷下榻，微觉轻寒，及启户视之，见园中土润苔青：原来五更时落了几点微雨。于是唤起湘云等人来。一面梳洗，湘云因说两腮作痒，恐又犯了杏斑癣，因问宝钗要些蔷薇硝擦。宝钗道：“前日剩的都给了妹子了。”因说：“颦儿配了许多，我正要要他些来，因今年竟没发痒，就忘了。”因命莺儿去取些来。莺儿应了才去时，蕊官便说：“我同你去，顺便瞧瞧藕官。”

Inside the garden, Mandarin Duck and Jade Bracelet also closed the doors of main apartments, and took some maids from there to stay in the servants’ quarters to have rests. While every night Filial Piety Forest's Wife took some old serving-women stay in the garden to keep watch. All entrance halls were patrolled by pages with clappers. Everything was done with a well-arranged order. On a early spring morning when Precious Hairpin awoke from the spring fatigue, parted the bed-curtains and got up, she found it was a little bit cold. She opened the door and looked outside. The soil in the yard was wet and moss was green. There was also some rain falling down at dawn. She woke up Fragrant-cloud and other people. While they were dressing, Fragrant-cloud said her cheeks were itched. She was afraid that she had the spring rashes again, so she asked Precious Hairpin whether she had rose powder. Precious Hairpin said: “I have given all I had to my sister Precious Strings a few days ago. Mascara Jade has made a lot and I was about to ask her for some. But I forgot this thing because I did not have any itched feelings this spring.” Then she let Maid Oriole go Mascara Jade’s residence to fetch some powder. As Maid Oriole was about to go, Actress Pistil said: “I will go with you together and visit Actress Lotus-root by the way.”

Inside, Mandarin Duck and Jade Bracelet also closed their mistresses’ main apartments, and took the other maids and matrons from there to stay in the servants’ quarters; while every night Filial Piety Forest's Wife brought some dozen old serving-women to keep watch, and all the entrance halls were patrolled by extra pages with clappers. In this way excellent order was maintained. Early one spring morning when Precious Hairpin awoke, parted her bed-curtains and got up, she found it rather chilly. She opened the door and looked out. The soil in the courtyard was moist, the moss on it green, for a light rain had fallen at dawn. She then woke Fragrant-cloud and the others. As they were dressing, Fragrant-cloud remarked that her cheeks itched. She was afraid she had a spring rash again, and would like some rose-nitric powder to apply to it. “I gave all I had left the other day to Precious Strings,” Precious Hairpin told her. “Mascara Jade had a good deal made and I was meaning to ask her for some, but not having felt any itching this spring I forgot.” She ordered Oriole to go and fetch some of this powder. As Oriole was about to leave on this errand, Etamine offered to go with her, as that would give her a chance to see Nenuphar.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 07:46, 28 May 2022 (UTC)

==英语笔译张姣玲 Zhang Jiaoling 202170081607==

说着一径同莺儿出了蘅芜苑。二人你言我语，一面行走，一面说笑，不觉到了柳叶渚，顺着柳堤走来。因见叶才点碧，丝若垂金，莺儿便笑道：“你会拿这柳条子编东西不会？”蕊官笑道：“编什么东西？”莺儿道：“什么编不得？玩的，使的，都可。等我摘些下来，带着这叶子编一个花篮，采了各色花儿放在里头，才是好玩呢！”说着，且不去取硝，且伸手采了许多嫩条，命蕊官拿着，他却一行走，一行编花篮。随路见花便采一二枝，编出一个玲珑过梁的篮子。枝上自有本来翠叶满布，将花放上，却也别致有趣。
So the two of them set off from Alpinia Park. Chatting as they strolled, the girls soon reached Willow Bank. As they walked along it they saw that the willows, now turning green, seemed hung with golden threads. “Can you weave things out of osiers?” Oriole asked. “What sort of things?” “Oh, anything ‘ little toys or useful objects. Wait till I’ve picked a few twigs with leaves and I’ll make a basket to fill with different flowers. That should be fun.” So instead of fetching the powder, Oriole plucked an armful of tender twigs which she made Etamine carry, and started to weave a basket as on they walked, stopping now and then to pick flowers. The dainty little basket was soon completed. Covered with its own fresh green leaves and filled with flowers, it made a charming and original toy.

So the two of them set off from Alpinia Park. Chatting as they strolled, they soon reached Willow Bank. As they walked along it, they saw that willows, now turning green, seemed hung with golden threads. “Can you weave things out of osiers?” Oriole asked. “What sort of things?” “Oh, anything ‘ little toys or useful objects. Wait till I’ve picked a few twigs with leaves and I’ll make a basket to fill with different flowers. That should be fun.” So instead of fetching the powder, Oriole plucked an armful of tender twigs which she made Etamine carry, and started to weave a basket as on they walked, stopping now and then to pick flowers. The dainty little basket was soon completed. Covered with its own fresh green leaves and filled with flowers, it made a charming and original toy.--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:49, 30 May 2022 (UTC)

==英语笔译张瑞 Zhang Rui 202170081608==

喜得蕊官笑道：“好姐姐，给了我罢！”莺儿道：“这一个咱们送林姑娘，回来咱们再多采些，编几个大家玩。”说着，来至潇湘馆中。黛玉也正晨妆，见了这篮子，便笑说：“这个新鲜花篮是谁编的？”莺儿说：“我编了，送与姑娘玩的。”黛玉接了，笑道：“怪道人人赞你的手巧，这玩意儿却也别致。”一面瞧了，一面便叫紫鹃挂在那里。莺儿又问侯薛姨妈，方和黛玉要硝。黛玉忙命紫鹃去包了一包，递与莺儿。黛玉又说道：“我好了，今日要出去逛逛；你回去说与姐姐，不用过来问候妈了，也不敢劳他过来，我梳了头，同妈都往你那里去吃饭，大家热闹些。”

Actress Pistil smiled and said, "Good sister, give it to me!" Maid Oriole said, "Let's send Mascara Jade this one, and when we come back, we'll pick more and make up a few for everyone to play." She said, and came to the Bamboo Lodge. Mascara Jade was also making up in the morning, and when she saw this basket, she smiled and said, "Who made this fresh flower basket?" Maid Oriole said, "I made it up and sent it to the girl to play with." Mascara Jade took it and smiled, "It's true that everyone praises your skill, and this thing does look chic." As she looked, she told Nightingale to hang it there. Maid Oriole asked Aunt Marshgrass again, then asked Mascara Jade for saltpetre. Mascara Jade order Nightingale to wrap a bag and hand it to Maid Oriole. Mascara Jade said again, "I'm fine, I'm going to go out for a walk today; you go back and say that you and your sister don't have to come over to greet her, and you don't dare to ask her to come over, I combed my hair and go to your place with her to eat, it is more fun."

Actress Pistil smiled and said, "My dear sister, give it to me!" Maid Oriole said, "Let's send this one to Mascara Jade, and when we come back, we'll pick more and make up a few for everyone to play." She said, and came to the Bamboo Lodge. Mascara Jade was also making up in the morning, and when she saw this basket, she smiled and said, "Who made this fresh flower basket?" Maid Oriole said, "I made it up and sent it to you to play with." Mascara Jade took it and smiled, "It's true that everyone praises your skill, and this thing does look chic." As she looked, she told Nightingale to hang it there. Maid Oriole greeted Aunt Marshgrass again, then asked Mascara Jade for saltpetre. Mascara Jade order Nightingale to wrap a bag and hand it to Maid Oriole. Mascara Jade said again, "I'm fine, I'm going out for a walk today; you go back and tell sister that both of you don't have to come over to greet Aunt Marshgrass, and I don't dare to ask her to come over. After I comb my hair, we will go to eat in your room with Aunt Marshgrass, which is more fun."--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:42, 30 May 2022 (UTC)

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

莺儿答应了出来，便到紫鹃房中找蕊官，只见蕊官却与藉官二人正说得高兴，不能相舍，莺儿便笑说：“姑娘也去呢，藕官先同去等着，岂不是好？”紫鹃听见如此说，便也说道：“这话倒很是，他这里淘气的可厌。”一面说，一面便将黛玉的匙箸用一块洋巾包了，交与藕官道：“你先带了这个去，也算一趟差了。”藕官接了，笑嘻嘻同他二人出来，一径顺着柳堤走来。莺儿便又采些柳条，索性坐在山石上编起来；又命蕊官先送了硝去再来。他二人只顾爱看他编，那里舍得去？莺儿只管催，说：“你们再不去，我就不编了。”

Maid Oriole promised and went out to Nightingale's room to find Actress Pistil, only to see that Actress Pistil and Actress Lotus-root were chatting merrily and couldn't be separated. Maid Oriole then smiled and said, "Actress Lotus-root can go with us, too. You go and wait for us there, isn't it a good idea?" Nightingale heard this and said, "So it is. She is so naughty there." She then packed Mascara Jade's spoon and chopsticks with a foreign scarf and handed it to Actress Lotus-root, saying, "Take this with you, it's also a piece of work." Actress Lotus-root took it and went out with Maid Oriole and Actress Pistil, smiling. They walked along the willow bank. Maid Oriole got some wicker and sat on the stone of the rockery to weave the flower basket. She then asked Actress Pistil to send the nitre first. But the two were attracted by her weaving the basket and unwilling to go to finish their work. Maid Oriole urged them to go quickly and said, "I won't do this any more if you don't go."

Maid Oriole promised and went out to Nightingale's room to find Actress Pistil, only to see that Actress Pistil and Actress Lotus-root were chatting merrily and couldn't be separated. Maid Oriole then smiled and said, "Actress Lotus-root can go with us, too. You go and wait for us there, isn't it a good idea?" Nightingale heard this and said, "So it is. She is so naughty there." She then packed Mascara Jade's spoon and chopsticks with a foreign scarf and handed it to Actress Lotus-root, saying, "Take this with you, it's also a piece of work." Actress Lotus-root took it and went out with Maid Oriole and Actress Pistil, smiling. They walked along the willow bank. Maid Oriole got some wicker and sat on the stone of the rockery to weave the flower basket. She then asked Actress Pistil to send the nitre first. But the two were attracted by her weaving the basket and unwilling to go to finish their work. Maid Oriole urged them to go quickly and said, "I won't do this any more if you don't go."--[[User:Zheng Dongqin|Zheng Dongqin]] ([[User talk:Zheng Dongqin|talk]]) 08:41, 2 June 2022 (UTC)

==英语笔译郑冬琴 Zheng Dongqin 202170081610==

藕官便说：“同你去了，再快回来。”二人方去了。这里莺儿正编，只见何妈的小女春燕走来，笑问：“姐姐编什么呢？”正说着，蕊官藕官也到了，春燕便向藕官道：“前日你到底烧了什么纸？被我姨妈看见了，要告你没告成，倒被宝玉赖了他好些不是，气得他一五一十告诉我妈。你们在外头这二三年了，积了些什么仇恨，如今还不解开？”藕官冷笑道：“有什么仇恨？他们不知足，反怨我们了。在外头这两年，不知赚了我们多少东西。你说说，可有的没的？”
春燕笑道：“他是我的姨妈，也不好向着外人反说他的。
‘I’ll go with you,’ volunteered Actress Lotus-root. ‘Then we can hurry back.’And with that they went off. Presently along came Mother He’s young daughter Spring Swallow, who wanted to know what Maid Oriole was making. Just at that moment the other girls returned.‘What was that paper you were burning the other day when my aunt spotted you?’ Spring Swallow asked Actress Lotus-root. ‘Before she could report you, Precious Jade Merchant gave her such a dressing-down that she went off in a huff and told my mother all about it. What feud did you have with them those few years in the troupe outside the Garden that you’re still at loggerheads?’‘What feud?’ Actress Lotus-root snorted. ‘There’s just no satisfying them they’re for ever nagging at us. Not to mention anything else, goodness knows how much they made the last two years out of our daily food allowance outside ‘ more than enough to feed their own families ‘ in addition to their rake off on purchases. Yet any job we give them, they complain to high heaven. What sort of behaviour is that?’Spring Swallow smiled.‘She’s my aunt, so I can’t run her down to outsiders.

‘I’ll go with you,’ volunteered Actress Lotus-root. ‘Then we can hurry back.’And with that they went off. Presently along came Mother He’s young daughter Spring Swallow, who wanted to know what Maid Oriole was making. Just at that moment the other girls returned.‘What was that paper you were burning the other day when my aunt spotted you?’ Spring Swallow asked Actress Lotus-root. ‘Before she could report you, Precious Jade Merchant gave her such a dressing-down that she went off in a huff and told my mother all about it. What feud did you have with them those few years in the troupe outside the Garden that you’re still at loggerheads?’‘What feud?’ Actress Lotus-root snorted. ‘There’s just no satisfying them they’re for ever nagging at us. Not to mention anything else, goodness knows how much they made the last two years out of our daily food allowance outside ‘ more than enough to feed their own families ‘ in addition to their rake off on purchases. Yet any job we give them, they complain to high heaven. What sort of behaviour is that?’Spring Swallow smiled.‘She’s my aunt, so I can’t run her down to outsiders.--[[User:Zhong Qing|Zhong Qing]] ([[User talk:Zhong Qing|talk]]) 02:15, 1 June 2022 (UTC)

==英语笔译钟青 Zhong Qing 202170081611==

怨不得宝玉说：‘女孩儿未出嫁是颗无价宝珠，出了嫁不知怎么就变出许多不好的毛病来；再老了，更不是珠子，竟是鱼眼睛了！分明一个人，怎么变出三样来？’这话虽是混账话，想起来真不错。别人不知道，只说我妈和姨妈，他老姐儿两个，如今越老了，越把钱看得真了。先是老姐儿两个在家抱怨没个差使进益；幸亏有了这园子，把我挑进来，可巧把我分到怡红院。家里省了我一个人的费用不算外，每月还有四五百钱的余剩，这也还说不够。后来老姐儿两人都派到梨香院去照看他们，藕官认了我姨妈，芳官认了我妈，这几年着实宽绰了。

"But no wonder Precious Jade Merchant says: 'A girl before marriage is a precious pearl; after marriage,she somehow picks up all sorts of bad habits so that the pearl loses its lustre -- it's a dead pearl; and as she grows still older, the pearl changes into a fish-eye. What a metamorphosis!'That's silly talk maybe, still there's something in it. I don't know about other people, but as for my mother and her sister, my aunt, it's true that the older they grow the madder they get for money. First, at home,the two of them groused that they had no fat jobs; then luckily there was this Garden and I happened to be assigned to Happy Red Court; so apart from saving my keep, the family got four or five hundred cash extra a month. But they still said that wasn't enough. Later both were assigned to Pear Fragrance Court to look after the actresses. My aunt had Actress Lotus-root her foster-daughter; my mother, Fragrant Official; so for the last few years they were in clover. "

"But no wonder Precious Jade Merchant says: 'A girl before marriage is a precious pearl; after marriage, she somehow picks up all sorts of bad habits so that the pearl loses its lustre -- it's a dead pearl; and as she grows still older, the pearl changes into a fish-eye. What a metamorphosis!' That's silly talk maybe, still there's something in it. I don't know about other people, but as for my mother and her sister, my aunt, it's true that the older they grow the madder they get for money. First, at home, the two of them groused that they had no fat jobs; then luckily there was this Garden and I happened to be assigned to Happy Red Court; so apart from saving my keep, the family got four or five hundred cash extra a month. But they still said that wasn't enough. Later both were assigned to Pear Fragrance Court to look after the actresses. My aunt had Actress Lotus-root her foster-daughter; my mother, Fragrant Official; so for the last few years they were in clover. "--[[User:Zhou Haoxi|Zhou Haoxi]] ([[User talk:Zhou Haoxi|talk]]) 09:15, 1 June 2022 (UTC)

==英语笔译周皓熙 Zhou Haoxi 202170081612==

如今挪进来，也算撂开手了，还只无厌。你说好笑不好笑？接着我妈和芳官女吵了一场，又要宝玉吹汤，讨个没趣儿。幸亏园里的人多，没人记的清楚谁是谁的亲故；要有人记得，我们一家人，叫人家看着什么意思呢！你这会子又跑了来弄这个。这一带地上的东西，都是我姑妈管着，他一得了这地，每日起早睡晚，自己辛苦了还不算，每日逼着我们来照看，生怕有人遭塌，我又怕误了我的差使；如今我们进来了，老姑嫂两个照看得谨谨慎慎，一根草也不许人乱动。你还掐这些花儿，又折他的嫩树枝子，他们即刻就来，仔细他们抱怨。”

Now that we moved in, we completely gave up. I had no other thoughts. It's so funny. Then my mom had a quarrel with Fragrant Official, asking Precious Jade to chill the soup. Made herself embarrassed. Luckily, there weren't many people in the yard at that time and no one knew clearly the relations. If anyone knew, we were going to be a joke. You came to do this now? See the things on the ground, they are all my aunt's charging. She couldn't do that much. Nearly in the morning and late at night, making herself tired does not count, she even wanted us to be with her so that she doesn't have to worry anyone damaging it. I feared that my work would be impeded. Now I came in, the old ladies were so careful. Don't even allow others to touch a grass. You picked the flowers and fresh branches. They are coming soon and you are doomed."

Now that we moved in, we completely gave up. I had no other thoughts. It's so funny. Then my mom had a quarrel with Fragrant Official, and then she asked Precious Jade to chill the soup. Only to make herself embarrassed. Luckily, there weren't many people in the yard at that time and no one knew clearly the relations. If anyone knew, we were going to be a joke. You came to do this now? See the things on the ground, they are all my aunt's charging. She couldn't do that much. Nearly in the morning and late at night, making herself tired does not count, she even wanted us to be with her so that she doesn't have to worry anyone damaging it. I feared that my work would be impeded. Now I came in, the old ladies were so careful. Don't even allow others to touch a grass. You picked the flowers and fresh branches. They are coming soon and you are doomed."--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 15:15, 31 May 2022 (UTC)

==英语笔译周哲 Zhou Zhe 202170081613==

莺儿道：“别人折掐使不得，独我使得。自从分了地基之后，各房里每日皆有分例的，不用算；单管花草玩意儿，谁管什么，每日谁就把各房里姑娘丫头戴的，必要各色送些折枝的去，另有插瓶的。惟有我们姑娘说了：‘一概不用送，等要什么再和你要。’究竟总没要过一次。我今便掐些，他们也不好意思说的。”一言未了，他姑妈果然拄了拐杖走来。莺儿春燕等忙让坐。那婆子见采了许多嫩柳，又见藕官等采了许多鲜花，心里便不受用；看着莺儿编弄，又不好说什么，便说春燕道：“我叫你来照看照看，你就贪住玩不去了，
"Others may not be allowed to pick what they like, but I am, "retorted Maid Oriole." After the different places were allotted, each household was assigned its share of the produce. Not counting edibles, just take flowers for example. Those in charge have to send some over every day for the young ladies and maids to wear, as well as to put in their vases. My young lady was the only one who told them not to send any. She said she'd ask for what she needed, but in fact she never once has. So how can they scold me for picking a few flowers now?"
While she was still speaking, sure enough, along came Spring Swallow's aunt leaning on her cane. Maid Oriole and Spring Swallow at once urged her to be seated. The sight of all the willow twigs and flowers which Actress Lotus-root and the others had picked vexed the woman, but not liking to say anything against Maid Oriole, who was making a basket, she rounded on her niece.
"I told you to keep an eye on things, but you take that as a chance to play around …

"Others may not be allowed to pick what they like, but I am, "retorted Maid Oriole." After the different places were allotted, each household was assigned its share of the produce. Not counting edibles, just take flowers for example. Those in charge have to send some over every day for the young ladies and maids to wear, as well as to put in their vases. My young lady was the only one who told them not to send any. She said she'd ask for what she needed, but in fact she never once has. So how can they scold me for picking a few flowers now?"
While she was still speaking, sure enough, along came Spring Swallow's aunt leaning on her cane. Maid Oriole and Spring Swallow at once urged her to be seated. The sight of all the willow twigs and flowers which Actress Lotus-root and the others had picked vexed the woman, but not liking to say anything against Maid Oriole, who was making a basket, she rounded on her niece.
"I told you to keep an eye on things, but you take that as a chance to play around …--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 05:08, 31 May 2022 (UTC)

==英语笔译朱丽娟 Zhu Lijuan 202170081614==

倘或叫起你来，你又说我使你了，拿我作隐身草儿，你来乐！”春燕道：“你老人家又使我，又怕，这会子反说我，难道把我劈八瓣子不成？”莺儿笑道：“姑妈，你别信小燕儿的话。这都是他摘下来，烦我给他编，我撵他，他不去。”春燕笑道：“你可少玩儿！你只顾玩儿，他老人家就认真的。”那婆子本是愚夯之辈，兼之年近昏眊，惟利是命，一概情面不管；正心疼肝断，无计可施，听莺儿如此说，便倚老卖老，拿起柱杖向春燕身上击上几下，骂道：“小蹄子，我说着你，你还和我强嘴儿呢！
"l told you not go back to your apartments. When they want you there, you say you've been working for me. Using me as your cover,ch?"
"You order me about yet you're afraid, and now you're scolding me," protested Spring Swallow. "l can't be everywhere at once, can I?"
"Don't you believe her, aunt," chuckled Yinger. "She was the one who picked all these and asked me to make her a basket. When I tried to chase her away, she wouldn't go."
"Don't talk such nonsense!" cried Spring Swallow. “My aunt can't take a joke, she'll believe you."
Indeed, her aunt had been born stupid, and now that age had addled her wits her one interest in life was money: she had no consideration at all for others. Inwardly fuming, she had not known how to retaliate until Yinger made this joke. Now, presuming on her seniority, she raised her cane and struck her niece several blows.
"Little bitch!"she swore. "I'll teach you to talk back!

"I told you not go back to your apartments. When they want you there,you say you've been working for me. Using me as your cover?" "You order me about yet you're afraid, and now you're scolding me,"protested Spring Swallow. "I can't be everywhere at once,can I?" "Don't you believe her, aunt," chuckled Oriole. "She was the one who picked all these and asked me to make her a basket. When I tried to chase her away,she wouldn't go." "Don't talk such nonsense!" cried Spring Swallow. “My aunt can't take a joke,she'll believe you." Indeed,her aunt had been born stupid, and now that age had addled her wits her one interest in life was money: she had no consideration at all for others. Inwardly fuming,she had not known how to retaliate until Yinger made this joke. Now,presuming on her seniority,she raised her cane and struck her niece several blows. "Little bitch!"she swore. "I'll teach you to talk back!--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 13:21, 31 May 2022 (UTC)

==英语口译段小蝶 Duan Xiaodie 202170081615==

你妈恨的牙痒痒，要撕你的肉吃呢，你还和我梆子是的。”打得春燕又愧又急，因哭道：“莺儿姐姐玩话，你就认真打我！我妈为什么恨我？又没烧糊了洗脸水，有什么不是？”莺儿本是玩话，忽见婆子认真动了气，忙上前拉住，笑道：“我才是玩话，你老人家打他，这不是臊我了吗？”那婆子道：“姑娘，你别管我们的事，难道为姑娘在这里不许我们管孩子不成？”莺儿听见这般蠢话，便赌气红了脸，撒了手，冷笑道：“你要管，那一刻管不得？偏我说了一句玩话，就管他了？我看你管去！”说着便坐下，仍编柳篮子。
Your mother's grinding her teeth,itching to tear you to pieces and chew you up. Yet you still answer me back in that pert way!" Hurt and humiliated,Spring Swallow sobbed,"Sister Oriole was only joking,yet you believed her and beat me. Why should my mother be angry? I've not boiled away her water or burned her pan. What have I done wrong?" Maid Oriole,seeing that her teasing had really angered the woman now caught her by the arm. "I was only joking,"she said soothingly. "By beating her you make me feel bad too." "Don't meddle with our affairs miss,"snapped the other. "Can't we punish our own children just because you're here?" This stupid gibe made Yinger flush with anger. She let go of the woman with a scornful laugh,"You can punish her any time you please. Why do it just after I make a joke? All right - go ahead." With that she sat down again and was going on making her basket.--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 08:17, 1 June 2022 (UTC)

==比较文学与跨文化研究 Mahzad 202021080004==

偏又有春燕的娘出来找他，喊道：“你不来舀水，在那里做什么？”那婆子便接声儿道：“你来瞧瞧，你女孩儿连我也不服了，在这里排揎我呢！”那婆子一面走过来，说：“姑奶奶又怎么了？我们丫头眼里没娘罢了，连姑妈也没了不成？”莺儿见他娘来了，只得又说原故。他姑娘那里容人说话，便将石上的花柳与他娘瞧，道：“你瞧瞧，你女孩儿这么大孩子玩的！他领着人糟塌我，我怎么说人？”他娘也正为芳官之气未平，又恨春燕不遂他的心，便走上来打了个耳刮子，骂道：“小娼妇，你能上了几年台盘？你也跟着那起轻薄浪小妇学！怎么就管不得你们了？干的我管不得，你是我自己生出来的，难道也不敢管你不成？
However, Chunyan's mother came out to look for him and shouted: "If you don't come to scoop water, what are you doing there?" The old woman then said: "Come and see, your girl doesn't even agree with me, Arrange for me here!" The old woman came over and said, "What's wrong with my aunt? Our girl doesn't have a mother in her eyes, not even her aunt?" Ying'er saw his mother coming, so she had to say again The reason. When his girl let people talk, she looked at the flowers and willows on the stone with his mother, and said, "Look, your girl is such a big child to play with! He led people to ruin me, how can I say people?" His mother also Just because the Fangguan's anger was still unsatisfactory, and he hated Chunyan for not meeting his heart, he walked up and slapped his ears and scolded: "Little prostitute, how many years can you be on the table? You also follow that frivolous little woman. Learn! Why can't I control you? I can't control what you do, you were born by me.

Coincidentally, Spring Swallow’s mother came out to look for her and shouted, “What are you busy with rather than scooping water?” The granny then cut in, “Come and see, your girl even doesn't listen to me. She is just arguing with me here!” The woman came over and said, “Granny, what's wrong with you again? That girl doesn't have a mother in her eyes. How dare she not respect you?” Oriole saw her mother come, so she told her what had happened before. Spring Swallow didn’t allow others to gossip about herself, so she showed her mother the flowers and willows on the stone, and said, “Look, this is what I’m playing with! But she led people to bully me, then how can I respond to?” Her mother remained angry with the issue of Flagrant Official unsatisfactory, and also hated her daughter for not following her mind, so she stepped up and gave her a slap and cried, “Little girl! How many years can you expose yourself in the public? You should follow that little frivolous woman! Why can't I control and educate you? The adopted ones I have no right for, but for you, the girl was given birth and raised by me, why dare I not give you a lesson?

--[[User:Bian Wangqian|Bian Wangqian]] ([[User talk:Bian Wangqian|talk]]) 02:36, 2 June 2022 (UTC)

==外国语言文学 Muhammad Numan 202121080002==

既是你们这起蹄子到得去的地方我到不去，你就死在那里伺侯，又跑出来浪汉子！”一面又抓起柳条子来，直送到他脸上，问道：“这叫做什么，这编的是你娘的什么？”莺儿忙道：“那是我编的，你别‘指桑骂槐’的！”那婆子深妒袭人晴雯一干人，早知道凡房中大些的丫鬟，都比他们有些体统权势，凡见了这一干人，心中又畏又让，未免又气又恨，亦且迁怒于众；复又看见了藕官，又是他姐姐的冤家：四处凑成一股怒气。那春燕啼哭着往怡红院去了。他娘又恐问他为何哭，怕他又说出来，又要受晴雯等的气，不免赶着来喊道：“你回来！我告诉你再去。”春燕那里肯回来，急的他娘跑了去要拉他。春东回头看见，便也往前飞跑。

==英语语言文学 TOURE MARIAM 202021080005==

他娘只顾赶他，不防脚下被青苔滑倒，引的莺儿三个人都反笑了。莺儿赌气将花柳皆掷于河中，自回房去。这里把个婆子心疼的只念佛，又骂：“促狭小蹄子！遭塌了花儿，雷也是要劈的！”自己且掐花与各房送去。却说春燕一直跑入院中，顶头遇见袭人往黛玉处问安去，春燕便一把抱住袭人说：“姑娘救我！我娘又打我呢！”袭人见他娘来了，不免生气，便说道：“三日两头儿，打了干的打亲的，还是卖弄你女孩儿多？还是认真不知王法？”这婆子来了几日，见袭人不言不语，是好性的，便说道：“姑娘，你不知道，别管我们的闲事，都是你们纵的，还管什么？”说着，便又赶着打。

==外国语言文学 UDDIN NIZAM 202121080007==

袭人气的转身进来，见麝月正在海棠下晾手巾，听如此喊闹，便说：“姐姐别管，看他怎样！”一面使眼色与春燕。春燕便会意，便直奔了宝玉去。众人都笑说：“这可是从来没有的事今儿都闹出来了。”麝月向婆子道：“你再略煞一煞气儿，难道这些人的脸面，和你讨一个情还讨不出来不成？”那婆子见他女儿奔到宝玉身边去，又见宝玉拉了春燕的手，说：“你别怕，有我呢！”春燕一行哭，一行将方才莺儿等事都说出来。宝玉越发急起来，说：“你只在这里闹也罢了，怎么连亲戚也都得罪起来！”麝月又向婆子及众人道：

==翻译学 SAGARA SEYDOU 201911080004 ==

“怨不得这嫂子说我们管不着他们的事，我们虽无知，错管了，如今请出一个管得着的人来管一管，嫂子就心服口服，也知道规矩了。”便回头叫小丫头子：“去把平儿给我叫来！平儿不得闲。就把林大娘叫了来。”那小丫头子应了就走。众媳妇上来笑说：“嫂子快求姑娘们叫回那孩子罢。平姑娘来了，可就不好了！”那婆子说道：“凭是那个姑娘来了，也要凭个理，没有见个娘管女孩儿，大家管着娘的！”众人笑道：“你当是那个平姑娘？是二奶奶屋里的平姑娘！他有情么，说你两句；他一翻脸，嫂子，你‘吃不了兜着走’！”说着，只见那个小丫头子回来说：“平姑娘正有事呢，问我做什么，我告诉了他。

20220526 culture

2022-06-02T09:18:33Z

Liu Shuangying: /* 英语笔译刘乐乐 Liu Lele 202170081584 */

Quicklinks:[[Chinese Language and Culture 2022|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] [[Joint_translation_terms]]

[[20220526_culture|culture of session 14 for session 15 May.26]]

'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is

27 Globalization: The Westernization Movement 54% 黄天琪 Huang Tianqi

31 Globalization: The Eastward Spread of Western Learning 53% 莫雨婷Mo Yuting

'''Assignment 2''': '''Click here''' to answer the questions of the topics below

27 Globalization: The Westernization Movement

31 Globalization: The Eastward Spread of Western Learning

Due before 4:30 pm Jun.2

'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

Due before 6:00 pm Jun.1

IN PREPARATION

=Please write your homework directly down here=
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line.

While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.

When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".

Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

==英语笔译卞王倩 Bian Wangqian 202170081563==

因又笑说道：“几年间，门子也会钻了，由知府推升转了御史，不过几年，升了吏部侍郎，署兵部尚书。为着一件事降了三级。如今又要升了。”冯紫英道：“人世的荣枯，仕途的得失，终属难定。”贾政道：“像雨村算便宜的了。还有我们差不多的人家，就是甄家，从前一样功勋，一样的世袭，一样的起居，我们也是时常往来。不多几年，他们进京来，差人到我这里请安，狠还热闹。一回儿抄了原籍的家财，至今杳无音信。不知他近况若何，心下也着实惦记，看了这样，你想做官的怕不怕？”贾赦道：“咱们家是最没有事的。”

Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The rise and fall of one’s fate and the gain and loss of one’s official career are unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years ago, when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious with his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant didn’t care.

Thank you for your correction work this semester.(*￣︶￣)
（Reply: My enjoyment,sweetie~ (づ￣︶￣)づ）

Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The ups and downs of one’s fate and the gain and loss of one’s official career are both unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once as illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years later when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious about his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant replied disapprovingly.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:05, 30 May 2022 (UTC)

==英语笔译曹姣 Cao Jiao 202170081564==

冯紫英道：“果然尊府是不怕的：一则里头有贵妃照应；二则故旧好，亲戚多；三则你家自老太太起，至于少爷们，没有一个刁钻刻薄的。”贾政道：“虽无刁钻刻薄，却没有德行才情。白白的衣租食税，那里当得起？”贾赦道：“咱们不用说这些话，大家吃酒罢。”大家又喝了几杯，摆上饭来。吃毕喝茶。冯家的小厮走来，轻轻的向紫英说了一句。冯紫英便要告辞了。贾赦贾政道：“你说什么？”小厮道：“外面下雪，早已下了梆子了。”贾政叫人看时，已是雪深一寸多了。贾政道：“那两件东西，你收拾好了么？”

“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.

“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:19, 30 May 2022 (UTC)

==英语笔译陈路瑶 Chen Luyao 202170081565==

冯紫英道：“收好了。若尊府要用，价钱还自然让些。”贾政道：“我留神就是了。”冯紫英道：“我再听信罢。天气冷，请罢，别送了。”贾赦贾政便命贾琏送了出去。却说冯紫英去后，贾政叫门上的人来吩咐道：“今儿临安伯那里来请吃酒，知道是什么事？”门上的人道：“奴才曾问过，并没有什么喜庆事，不过南安王府里到了一班小戏子，都说是个名班，伯爷高兴，唱两天戏，请相好的老爷们瞧瞧，热闹热闹。大约不用送礼的。”说着，贾赦过来问道：“明儿二老爷去不去？”贾政道：“承他亲热，怎么好不去的？”

“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.

“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 13:14, 28 May 2022 (UTC)

==英语笔译崔晓凡 Cui Xiaofan 202170081566==

说着，门上进来回道：“衙门里书办来请老爷明日上衙门。有堂派的事，必得早些去。”贾政道：“知道了。”说着，只见两个管屯里地租子的家人走来，请了安，磕了头，旁边站着。贾政道：“你们是郝家庄的？”两个答应了一声。贾政也不往下问，竟与贾赦各自说了一回话儿散了。家人等秉着手灯，送过贾赦去。这里贾琏便叫那管租的人道：“说你的。”那人说道：“十月里的租子，奴才已经赶上来了。原是明儿可到。谁知京外拿车，把车上的东西，不由分说，都掀在地下。奴才告诉他，说是府里收租子的车，不是买卖车，他更不管这些。

Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.

Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:43, 30 May 2022 (UTC)

==英语笔译邓阳林 Deng Yanglin 202170081567==

奴才叫车夫只管拉着走，几个衙役就把车夫混打了一顿，硬扯了两辆车去了。奴才所以先来回报。求爷打发个人到衙门里去要了来才好。再者，也整治整治这些无法无天的差役才好。爷还不知道呢，更可怜的是那买卖车，客商的东西全不顾，掀下来，赶着就走。那些赶车的但说句话，打的头破血出的。”贾琏听了，骂道：“这个还了得！”立刻写了一个帖儿，叫家人：“拿去向拿车的衙门里要车去，并车上东西。若少了一件，是不依的！快叫周瑞。”周瑞不在家。又叫旺儿。旺儿晌午出去了，还没有回来。贾琏道：“这些忘八羔子，一个都不在家！他们终年家吃粮不管事。”

The slave told the coachman to pull it away, but some government soldiers beat up the coachman and drove off with two carts. The minion returns the favor first. Please send someone to the Yamen for it. Moreover, it is good to punish these lawless servants. Ye still don't know, more pitiful is that the business car, the merchant's things all disregard, lift down, hurried away. Those who drive the wagons say nothing and bleed from the head." Romance Merchant, hearing this, cursed: "This is remarkable!" Immediately she wrote a post, telling her family: "Go to the government office where the cart is taken and ask for the cart and its contents. If one is missing, it will not depend on! Call Zhou Rui quickly." Zhou Rui is not at home. Also known as Wanger. Prosperous went out at noon and did not return. Romance Merchant said, "None of these forgetful kids are at home! They don't care what they eat all year round."

The slave told the coachman to pull it away, but some government soldiers beat up the coachman and drove off with two carts. The minion returns the favor first. Please send someone to the Yamen for it. Moreover, it is good to punish these lawless servants. Ye still don't know, more pitiful is that the business car, the merchant's things all disregard, lift down, hurried away. Those who drive the wagons say nothing and bleed from the head." Romance Merchant, hearing this, cursed: "This is remarkable!" Immediately she wrote a post, telling her family: "Go to the government office where the cart is taken and ask for the cart and its contents. If one is missing, it will not depend on! Call Auspicious Surrounding quickly." Auspicious Surrounding is not at home. Also known as Vigor. Prosperous went out at noon and did not return. Romance Merchant said, "None of these forgetful kids are at home! They don't care what they eat all year round."

==英语笔译高智慧 Gao Zhihui 202170081568==

因吩咐小厮们：“快给我找去。”说着，也回到自己屋里，睡下不提。且说临安伯第二天又打发人来请。贾政告诉贾赦道：“我是衙门里有事。琏儿要在家等候拿车的事情，也不能去。倒是大老爷带宝玉应酬一天也罢了了。”贾赦点头道：“也使得。”贾政遣人去叫宝玉，说“今儿跟大爷到临安伯那里听戏去。”宝玉喜欢的了不得，便换上衣服，带了焙茗、扫红、锄药三个小子，出来见了贾赦，请了安，上了车，来到临安伯府里。门上人回进去，一会子出来说：“老爷请。”

Shouting to his pages to find them both at once, Romance Merchant retired to his apartment for the night. Next morning brought a reminder from the Earl of Linan. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent word to Precious Jade that he was to accompany his uncle to the Earl of Lin-an’s theatre party. Precious Jade was thrilled. He changed, and choosing three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him, came out to pay his morning respects to Jia She. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in. Pardon Merchant led Precious Jade into the main courtyard, which was packed with a noisy throng. They paid their respects to the Earl and exchanged civilities with the other guests before sitting down and joining in the flow of light-hearted conversation. Before long the manager of the troupe came forward with two playbills, an ordinary one and a fancy one in the form of an ivory tablet, and saluting his patrons by dropping one knee to the ground in Manchu-style, announced: ‘Will the gentlemen please select their favourite plays?’

Shouting to his pages to find them at once, Romance Merchant retired to his apartment for the night. Next morning came a reminder from the Earl Temporary Settlement. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent words to Precious Jade that he was to accompany his uncle to the Earl Temporary Settlement’s theatre party. Precious Jade was thrilled with joy. He got himself dressed, chose three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him,and came out to pay his morning respects to Pardon Merchant. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in.
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 13:55, 28 May 2022 (UTC)

==英语笔译何丽娜 He Lina 202170081569==

于是贾赦带着宝玉走入院内，只见宾客喧阗。贾赦宝玉见了临安伯，又与众宾客都见过了礼，大家坐着，说笑了一回。只见一个掌班的拿着一本戏单，一个牙笏，向上打了一个千儿，说道：“求各位老爷赏戏。”先从尊位点起，挨至贾赦，也点了一出。那人回头见了宝玉，便不向别处去，竟抢步上来，打个千儿道：“求二爷赏两出。”宝玉一见那人，面如傅粉，唇若涂朱；鲜润如出水芙渠，飘扬似临风玉树：原来不是别人，就是蒋玉菡。前日听得他带了小戏儿进京，也没有到自己那里；此时见了，又不好站起来，只得笑道：“你多早晚来的？”

Then Pardon Merchant took Precious Jade into the courtyard which was fraught with the hustle and bustle. After the two paid their respects to Count Temporary Settlement and greeted the other guests, they sat down to talk . Then the one in charge of the troupe with a playlist and a ivory tablet stepped up and fell down on one kneel, saying, "Beg your lords to choose one and enjoy the play." In the order of seniority,they choose the operas. When it came to Pardon Merchant's turn, he also chose one. At that moment, turning around and catching sight of Precious Jade, that person unexpectedly come over to him and fell on one of his kneel, "Beg master to choose one." When Precious Jade saw the man whose face seemed powdered and his lips looked scarlet, it occurred to him that he was Jade Lotus Chiang. The day before yesterday, Precious Jade heard that he had brought a group of young actors with him to Peking, but he did not come to visit him. On such an occasion, Precious Jade could not just stand up to greet him, so he had to smile instead and asked, "When did you come?"

Then Pardon Merchant took Precious Jade into the courtyard which was fraught with the hustle and bustle. After the two paid their respects to Count Temporary Settlement and greeted other guests, they sat down to talk . Then the one in charge of the troupe with a playlist and a ivory tablet stepped up and fell down on one kneel, saying, "Beg your lords to choose one and enjoy the play." In the order of seniority,they choose the operas. When it came to Pardon Merchant's turn, he also chose one. At that moment, turning around and catching sight of Precious Jade, that person unexpectedly come over to him and fell on one of his kneel, "Beg master to choose one." When Precious Jade saw the man whose face seemed powdered and his lips looked scarlet, it occurred to him that he was Jade Lotus Chiang. The day before yesterday, Precious Jade heard that he had brought a group of young actors with him to Peking, but he did not come to visit him. On such an occasion, Precious Jade could not just stand up to greet him, so he had to smile instead and asked, "When did you come?"--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:12, 31 May 2022 (UTC)

==英语笔译胡良明 Hu Liangming 202170081570==

蒋玉菡把手在自己身子上一指，笑道：“怎么二爷不知道么？”宝玉因众人在坐，也难说话，只得胡乱点了一出。蒋玉菡去了，便有几个议论道：“此人是谁？”有的说：“他向来是唱小旦的，如今不肯唱小旦，年纪也大了，就在府里掌班。头里也改过小生。他也攒了好几个钱，家里已经有两三个铺子，只是不肯放下本业，原旧领班。”有的说：“想必成了家了。”有的说：“亲还没有定。他倒掌定一个主意，说是人生配偶，关系一生一世的事，不是混闹得的，不论尊卑贵贱，总要配的上他的才能。所以到如今还并没娶亲。”

Jade Lotus Buds put his hand on his body and smiled, "Why don't you know my second master?" Precious Jade couldn't speak because everyone was sitting, so he had to choose randomly. When Jade Lotus Buds went, there were several discussions: "Who is this person?" Some said: "He has always sung Xiaodan, but now he refuses to sing Xiaodan, and he is too old, so he is in charge of the house. He has also changed to Xiaosheng. He has saved a lot of money, and his family already has two or three shops, but he refused to let go of his business, and still worked as the former foreman." Some said,"He must get married." Some said: "The marriage has not yet been decided. He has made up an idea, saying that it is a life spouse, a matter of life, not a mess, no matter how high or low, you must always be worthy of his talents. So there is no such thing as yet."

Jade Lotus Buds put his hand on his body and smiled, "Don't you know my second master?" Precious Jade couldn't speak because everyone was sitting, so he had to choose randomly. When Jade Lotus Buds left, some people discussed: "Who is him?" Some said: "He has always sung Xiaodan, but now he refuses to do so, and he is too old, so he is in charge of the house. He has also performed Xiaosheng. He has saved a lot of money, and already has two or three shops, but he is unwilling to let go of his business, and still worked as the former foreman." Some said, "He must get married." Some replied: "The marriage has not yet been decided. He has made up an idea that the spouse is a matter of life, not a mess, no matter how high or low, you must always be worthy of his talents. So there is no such thing as yet."--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 13:26, 31 May 2022 (UTC)

==英语笔译黄琼 Huang Qiong 202170081571==

宝玉暗忖度道：“不知日后谁家的女孩儿嫁他？要嫁着这样的人材儿，也算是不辜负了。”那时开了戏，也有昆腔，也有高腔，也有弋腔，梆子腔：做得热闹。到了晌午，便摆开桌子吃酒。又看了一回，贾赦便欲起身。临安伯过来留道：“天色尚早。听见说蒋玉菡还有一出《占花魁》，他们顶好的首戏。”宝玉听了，巴不得贾赦不走；于是贾赦又坐了一会。果然蒋玉菡扮着秦小官，伏侍花魁醉后神情，把这一种怜香惜玉的意思，做得极情尽致。以后对饮对唱，缠绵缱绻。宝玉这时不看花魁，只把两支眼睛独射在秦小官身上。

Precious Jade wondered who the lucky girl would be to marry such an intelligent man. Then the performance started with Kun opera, Yi Opera, Gao Opera and Ban Zi operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave.“It’s early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.”Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the woman, but staring at the male role.

Precious Jade wondered who the lucky girl would be to marry such a man of his ability. Then the performance started with Kun opera, High-pitched Tunes, Yi-qiang and Pangtse operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave. “It’s still early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.” Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the heroine, but staring at the male role.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 14:58, 29 May 2022 (UTC)

==英语笔译邝雨琪 Kuang Yuqi 202170081572==

更加蒋玉菡声音响亮，口齿清楚，按腔落板，宝玉的神魂都唱了进去了。直等这出戏进场后，更知蒋玉菡极是情种，非寻常戏子可比。因想着：“《乐记》上说的是：‘情动于中，故形于声；声成文，谓之音。’所以知声，知音，知乐，有许多讲究。声音之原，不可不察。诗词一道，但能传情，不能入骨，自后想要讲究讲究音律。”宝玉想出了神，忽见贾赦起身，主人不及相留。宝玉没法，只得跟了回来。到了家中，贾赦自回那边去了。宝玉来见贾政。贾政才下衙门，正向贾琏问起拿车之事。贾琏道：“今儿叫人拿帖儿去，知县不在家。

Precious Jade was quite enraptured by his singing, for Jade Lotus had a resonant voice, clear enunciation and good sense of rhythm. By the end of the performance, he was firmly convinced that Jade Lotus was a romantic, completely unique artist, and not to be compared with the common actors. He thought, "The Book of Music rightly says, 'Stirred feelings find expression in sound, and when the sound follows a pattern we call it music.' So sounds, notes and music take some understanding, and a study has to be made of their origin. Poetry can convey emotions, but it can't thrill us to the marrow. In future I really must make a study of music." His reverie was interrupted by Pardon Merchant rising to leave. As their host could not prevail on him to stay, Precious Jade had no choice but to go back with him. On their return Pardon Merchant went straight to his own home. And Precious Jade, paying his duty call on his father, found him just back from the ministry questioning Romance Merchant about the seizure of their carts. Romance Merchant said, "I sent servants there today with my card, but the local mandarin was out.

Precious Jade was quite enraptured by his singing, for Jade Lotus had a resonant voice, clear enunciation, and a good sense of rhythm. By the end of the performance, he was firmly convinced that Jade Lotus was a romantic, completely unique artist, and not to be compared with the common actors. He thought, "The Book of Music rightly says, 'Stirred feelings find expression in sound, and when the sound follows a pattern we call it music.' So sounds, notes, and music take some understanding, and a study has to be made of their origin. Poetry can convey emotions, but it can't thrill us to the marrow. In the future, I really must make a piece of study music." His reverie was interrupted by Pardon Merchant rising to leave. As their host could not prevail on him to stay, Precious Jade had no choice but to go back with him. On their return Pardon Merchant went straight to his own home. And Precious Jade, paying his duty call on his father, found him just back from the ministry questioning Romance Merchant about the seizure of their carts. Romance Merchant said, "I sent servants there today with my card, but the local mandarin was out.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 02:23, 2 June 2022 (UTC)

==英语笔译黎溢佳 Li Yijia 202170081573==

他的门上说了：‘这是本官不知道的，并无牌票出去拿车，都是那些混帐东西在外头撒野挤讹头。既是老爷府里的，我便立刻叫人去追办，包管明儿连车连东西一并送来。如有半点差迟，再行禀过本官，重重处治。此刻本官不在家，求这里老爷看破些，可以不用本官知道更好。”贾政道：“既无官票，到底是何等样人在那里作怪？”贾琏道：“老爷不知，外头都是这样。想来明儿必定送来的。”贾琏说完下来。宝玉上去见了。贾政问了几句，便叫他往老太太那里去。贾琏因为昨夜叫空了家人，出来传唤，那起人多已伺候齐全。
His serviceman said, 'His Excellency knew nothing about this thing without ordering anyone to ask for carts. It's all the fault of those trouble-making bastards who take unfair advantage of people outside. As these are His Lordship's carts, I'll investigate and guarantee to return them as well as the things tomorrow as soon as possible. If there is any delay, I shall report it to His Excellency and have them severely punished. But since he is out now, I hope His Lordship could understand, as it would be better not to trouble my master.'" Without the official order, who would dare do such a thing?" demanded Master Merchant. "You don't understand, sir," said Romance Merchant. "It's like this everywhere outside the city. I'm sure they'll return our property tomorrow."
Then Precious Jade went to see his father, who asked him a few questions briefly before sending him to call on his grandmother. As the stewards had been out the day before when Romance Merchant sent for them, he had summoned them all and now they were waiting there.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 02:22, 1 June 2022 (UTC)

His serviceman said, 'His Excellency knew nothing about this without ordering anyone to ask for carts. It's all done by those trouble-making bastards who take unfair advantage of people outside. As these are His Lordship's carts, I'll find the carts with my guarantee and return them as well as the stuff on it tomorrow as soon as possible. If there is any delay, I shall report it to His Excellency and have them severely punished. But since he is out now, I hope His Lordship could understand, as it would be better not to trouble my master.'" Without the official order, who would dare do such a thing?" demanded Master Merchant. "You don't understand, sir," said Romance Merchant. "It's like this everywhere outside the city. I'm sure they'll return our property tomorrow."
Then Precious Jade went to see his father, who asked him a few questions briefly before sending him to call on his grandmother. As the stewards had been out the day before when Romance Merchant sent for them, he had summoned them all and now they were waiting there.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 02:34, 1 June 2022 (UTC)

==英语笔译李思敏 Li Simin 202170081574==

贾琏骂了一顿，叫大管家赖升：“将各行档的花名册子拿来，你去查点查点，写一张谕帖，叫那些人知道。若有并未告假，私自出去，传唤不到，贻误公事的，立刻给我打了撵出去！”赖升连忙答应了几个“是”，出来吩咐了一回，家人各自留意。过不几时，忽见有一个人，头上载着毡帽，身上穿着一身青布衣裳，脚下穿着一双撒鞋，走到门上，向众人作了个揖。众人拿眼上上下下打谅了他一番，便问他：“是那里来的？”那人道：“我自南边甄府中来的。并有家老爷手书一封，求这里的爷们呈上尊老爷。”众人听见他是甄府来的，才站起来让他坐下，道：“你乏了，且坐坐。我们给你回就是了。”

Romance Merchant scolded and asked Advancement, the major housekeeper, "bring me the roster of various lines of business, and you go and check them out, and write an oracle post to let those people know. If anyone goes out without asking for leave and cannot be summoned, he will be beaten and kicked out immediately! "Advancement hurriedly agreed with a few "yes" and came out to give orders, letting servants pay attention to it. After a while, a man came into sight with a felt hat on his head, dressed in blue cloth and a pair of slippers under his feet, he went to the door of the room and made a bow to the crowd. The crowd look at him up and down to and asked, "where did you come from?" The man said, "I'm from the Zhen House in the south. And there is a letter from the master of the Zhen family, Please give the letter to your master. " When they heard that he was from the Zhen House, they stood up and asked him to sit down and said, "you must be tired, sit down, please. We'll give it to our master. "--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 13:36, 28 May 2022 (UTC)

Romance Merchant scolded and asked Advancement, the major housekeeper, "bring me the roster of various lines of business, and you go and check them out, and write an oracle post to let those people know. If anyone goes out without asking for leave and cannot be summoned, he will be beaten and kicked out immediately! "Advancement hurriedly agreed with a few "yes" and came out to give orders, letting servants pay attention to it. After a while, a man came into sight with a felt hat on his head, dressed in blue cloth and a pair of slippers under his feet, he went to the door of the room and made a bow to the crowd. The crowd look at him up and down to and asked, "where did you come from?" The man said, "I'm from the Zhen House in the south. And there is a letter from the master of the Zhen family, Please give the letter to your master. " When they heard that he was from the Zhen House, they stood up and asked him to sit down and said, "you must be tired, sit down, please. We'll give it to our master. "--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 14:24, 1 June 2022 (UTC)

==英语笔译李思源 Li Siyuan 202170081575==

门上一面进来回明贾政，呈上来书。贾政拆书看时，上写着：世交夙好，气谊素敦，遥仰襜帷，不胜依切。弟因菲材获谴，自分万死难偿，幸邀宽宥，待罪边隅。迄今门户雕零，家人星散。所有奴子包勇，向曾使用，虽无奇技，人尚悫实。倘使得备奔走，糊口有资，屋乌之爱，感佩无涯矣！专此奉达，余容再叙。不宣。贾政看完，笑道：“这里正因人多，甄家倒荐人来。又不好却的。”吩咐门上：“叫他见我，且留他住下，因材使用便了。”门上出去，带进人来，见贾政，便磕了三个头，起来道：“家老爷请老爷安。”自己又打个千儿，说：“包勇请老爷安。”

A subordinate walked into the house to report to Master Merchant and presented the letter. He immediately opened the letter and read, "Every generation in our family is very close and has a deep friendship. When I see the eaves of your house from a distance, I feel very kind in my heart. My brother was convicted for breaking the law. When he was sentenced, I thought he would be given a heavy sentence. Fortunately, the law treated him leniently and only sent him to the frontier. Now my family is gradually declining, and there are few members of the family. There are many slaves in my family who have served for many years. Although they do not have any skills, they are Be honest and honest. If you can give them some relief, so that they can survive, I will feel at ease. I express my heartfelt thanks for this. The above is all I have to say, and I will talk about it later. Master Merchant smiled after reading it, "There are already so many people in my family, and now there are so many. The problem is that I have a hard time saying no. "He instructed his servants: "Call the one with the letter to see me, and let him stay." As for his subordinates, I will consider them according to their abilities. The subordinate went out and led him in. The latter kowtowed three times, got up and said, "My master has given you a greeting." "Then he knelt down again and said, "I give you my best wishes." "--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 14:23, 1 June 2022 (UTC)

A doorman walked into the house to report to Master Merchant and presented the letter. He immediately opened the letter and read, "Every generation in our family is very close and has a deep friendship. When I see the eaves of your house from a distance, I feel very kind in my heart. My brother was convicted for breaking the law. When he was sentenced, I thought he would be given a heavy sentence. Fortunately, the law treated him leniently and only sent him to the frontier. Now my family is gradually declining, and there are few members of the family. There are many slaves in my family who have served for many years. Although they do not have any skills, they are Be honest and honest. If you can give them some relief, so that they can survive, I will feel at ease. I express my heartfelt thanks for this. The above is all I have to say, and I will talk about it later." Master Merchant smiled after reading it, "There are already so many people in my family, and now the Truth family also recommend some servants to us. The problem is that I cannot decline his good intention. "He instructed his servants: "Call the one to see me, and let him stay. I will consider them according to their abilities." The doorman went out and led him in. The latter kowtowed three times, got up and said, "My master has given you a greeting." "Then he knelt down again and said, "I give you my best wishes, Sir."--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 14:32, 1 June 2022 (UTC)

==英语笔译李婷 Li Ting 202170081576==

贾政回问了甄老爷的好，便把他上下一瞧，但见包勇身长五尺有零，肩背宽肥，浓眉爆眼，磕额长髯，气色粗黑，垂着手站着。便问道：“你是向来在甄家的，还是住过几年的？”包勇道：“小的向在甄家的。”贾政道：“你如今为什么要出来呢？”包勇道：“小的原不肯出来，只是家爷再四叫小的出来，说是别处你不肯去，这里老爷家里只当原在自己家里一样的，所以小的来的。”贾政道：“你们老爷不该有这事情，弄到这样的田地。”包勇道：“小的本不敢说：我们老爷只是太好了，一味的真心待人，反倒招出事来。”贾政道：“真心是最好的了。”

Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. Bag Valiant said, "I didn’t want to, but my master insisted. He said, ‘You wouldn’t agree to going anywhere else, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."

Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. "I didn’t want to, " Bag Valiant said,"but my master insisted again and he told me that other place you didn't want to go, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:40, 29 May 2022 (UTC)Li Ying

==英语笔译李颖 Li Ying 202170081578==

包勇道：“因为太真了，人人都不喜欢，讨人厌烦是有的。”贾政笑了一笑道：“既这样，皇天自然不负他的。”包勇还要说时，贾政又问道：“我听见说你们家的哥儿不是也叫宝玉么？”包勇道：“是。”贾政道：“他还肯向上巴结么？”包勇道：“老爷若问我们哥儿，倒是一段奇事。哥儿的脾气也和我家老爷一个样子，也是一味的诚实，从小儿只管和那些姐妹们在一处顽。老爷太太也狠打过几次，他只是不改。那一年太太进京的时候儿，哥儿大病了一场，已经死了半日，把老爷几乎急死，装裹都预备了。

Bag Valiant said:"Because he was too honest,nobody liked him and he offended some people.Master Merchant laughed:" Well, in that case, the God will give him due deserts."Bag Valiant were plant to reply, Master Merchant continued to say that:"I heard that your younger master's name is Precious Jade, is that true?"Bag Valiant said:" That is right, sir."Master Merchant said:" Is he still willing to flatter on the top?"Bag Valiant said:Your majesty asked me about my younger master, there were something strange about him. His temper is the same as our master's. Both of them were too honest, when he was a kid, he only played with those sisters. My masters also beat him severely,but there's no change in my younger master. That year our mistress came to the capital, younger master fell very ill.He lost his consciousness for so long that his father was frantic and had all the funeral preparations made."

Valiant Bag said:"He is too honest, so nobody likes him and he has offended some people." Master Merchant laughed:" Well, in that case, the God will give him due deserves." When Valiant Bag were plant to reply, Master Merchant continued to say. "I heard that your younger master's name is Precious Jade. Is that true?" he added. Valiant Bag said: "That's right, sir." Master Merchant said:" Is he still willing to flatter the top?" Bag Valiant replied: "If you ask me about my younger master, there is something strange about him. His temper is the same as our master's. Both of them are too honest. When he was a kid, he only played with those sisters. My master and mistress also beat him severely, but there's no change of my younger master. That year when our mistress headed for the capital, my younger master was severely ill. He lost his consciousness for so long that his father was almost worried to dead and had all the funeral preparations made."--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 04:07, 31 May 2022 (UTC)

==英语笔译李媛 Li Yuan 202170081579==

幸喜后来好了，嘴里说道：走到一座牌楼那里，见了一个姑娘，领着他到了一座庙里，见了好些柜子，里头见了好些册子；又到屋里，见了无数女子，说是多变了鬼怪似的，也有变做骷髅儿的；他吓急了，便哭喊起来。老爷知他醒过来了，连忙调治，渐渐的好了。老爷仍叫他在姐妹们一处顽去，他竟改了脾气了：好着时候的玩意儿一概都不要了，惟有念书为事。就有什么人来引诱他，他也全不动心。如今渐渐的能彀帮着老爷料理些家务了。”贾政默然想了一回，道：“你去歇歇去罢。等这里用着你时，自然派你一个行次儿。”包勇答应着，退下来，跟着这里人出去歇息不提。

“Fortunately, he recovered in the end. He talked that he saw a girl at a memorial arch, who led him to a temple, where there were a great number of cabinets with many volumes of books inside. Walking inside, he saw many girls, who became ghosts and skeletons. He was so scared that he yelled and cried. When the Master knew he had woken, he set some doctors to give him a treatment. After that, he became well gradually. The Master then still allowed him to play with his sisters, but his character changed a lot. He threw away all the gadgets that he liked before and focused on books. Also, he would not be tempted to do other things by anyone. Now, he was able to help the Master with some family affairs.” Master Merchant pondered for a while after hearing what he said. “You can leave now. You will have your task when we need you,” Master Merchant said. Courage Bag showed his gratitude and left the room with other servants. His part ended.

Then, luckily, he came round. But he started raving that he’d met a girl by an archway who took him into a temple, inside which were many cabinets filled with albums. Then going into a room he saw countless girls who’d all turned into ghosts or skel�etons. That set him screaming with fright. As soon as our master saw that he’d come to he gave him good medical treatment, and gradually he recovered. After that, when our master sent him off to amuse himself with the girls, as he always used to, we discovered that he’d changed— he no longer enjoyed his old pleasures but much preferred to study. Even when they tried to coax him away from his books, he took no interest at all. So now, little by little, he’s learning to help his father manage the household.”Master Merchant digested this in thoughtful silence.“Go off and rest now,” he said presently. “When a task comes up that you can do, of course we’ll assign you some duties.”Bao Yong thanked him and withdrew, going out with the gateman to rest. But no more of this.--[[User:Li Zijie|Li Zijie]] ([[User talk:Li Zijie|talk]]) 03:14, 2 June 2022 (UTC)

==英语笔译李梓婕 Li Zijie 202170081580==

一日贾政早起，刚要上衙门，看见门上那些人在那里交头接耳，好像要使贾政知道的是的，又不好明回，只管咕咕唧唧的说话。贾政叫上来问道：“你们有什么事这么鬼鬼祟祟的？”门上的人回道：“奴才们不敢说。”贾政道：“有什么事不敢说的？”门上的人道：“奴才今儿起来，开门出去，见门上贴着一张白纸，上写着许多不成事体的字。”贾政道：“那里有这样的事！写的是什么？”门上的人道：“是水月庵里的腌臜话。”贾政道：“拿给我瞧。”门上的人道：“奴才本要揭下来，谁知他贴得结实，揭不下来，只得一面抄，一面洗。
One morning,Master Merchant rose early and was setting off to his yamen when he noticed the servants at the gate whispering and muttering among themselves as if they had some news for him which they dared not report outright. He called them over.“What is this hole-and-corner business’?” he demanded.“We hardly dare tell you, sir,” one of them answered.“Why not? Out with it!”“This morning when we got up and opened the gate, we found a sheet of paper pasted on it, covered with scurrilous writing.”“The idea!” exclaimed Master Merchant. “What was it?”“Dirty talk about Water Moon Convent, sir.”“Bring me the paper,” he ordered.“We tried to take it down, but it was glued on too firmly; so we copied it out, then soaked the paper to get it off.

On the morning,Master Merchant rose early and was setting off to his yamen when he noticed the servants whispering and muttering among themselves at the gate as if they had some news for him which they dared not report outright. He called them over.“What is this hole-and-corner business’?” he demanded.“We hardly dare tell you, sir,” one of them answered.“Why not? Out with it!”“This morning when we got up and opened the gate, we found a sheet of paper pasted on it, covered with scurrilous writing.”“The idea!” exclaimed Master Merchant. “What was it?”“Dirty talk about Water Moon Convent, sir.”“Bring me the paper,” he ordered.“We tried to take it down, but it was glued on too firmly; so we copied it out, then soaked the paper to get it off.--[[User:Liang Siting|Liang Siting]] ([[User talk:Liang Siting|talk]]) 02:04, 2 June 2022 (UTC)

==英语笔译梁思婷 Liang Siting 202170081581==

刚才李德揭了一张给奴才瞧，就是那门上贴的话。奴才们不敢隐瞒。”说着，呈上那帖儿。贾政接来看时，上面写着：“西贝草斤”年纪轻，水月庵里管尼僧。一个男人多少女，窝娼聚赌是陶情。不肖子弟来办事，荣国府内出新闻。贾政看了，气得头昏目晕，赶着叫门上的人不许声张，悄悄叫人往宁荣两府靠近的夹道子墙壁上再去找寻。随即叫人去唤贾琏出来。贾琏即忙赶至。贾政忙问道：“水月庵中寄居的那些女尼女道，向来你也查考查考过没有？”贾琏道：“没有，一向都是芹儿在那里照管。”贾政道：“你知道芹儿照管得来，照管不来？”

Just now Li de got one for me. On it were with the same words on the gate. I dared not to hide anything from you." Saying, he handed over the post. Master Merchant took it and saw it writing, "Xibeicaojin is young, managing nuns and monks in the Water Moon Nunnery. A man with so many women, the place made prostitute and gambling a cultivation. The unfilial came and the Merchant family made a bust." Master Merchant almost passed out by the post. He hurriedly asked the gatekeeper to conceal it and ordered servants to search for the rest of the posts on the wall of the mansion. He then asked someone to bring Romance Merchant. Romance rushed over and Master asked, "Have you investigate on the nuns in the Water Moon Nunnery?" Roamcne replied, "No. Celery is in charge." Master asked, "How do you know that Celery is capable?"

Just now Li De got one for me. On it was with the same words on the gate. We dared not to hide anything from you." Saying, he handed over the post. Master Merchant took it and saw it, "Xibeicaojin is young, managing nuns and monks in the Water Moon Nunnery. A man with so many women, the place made prostitute and gambling a cultivation. The unfilial came and the Merchant family made a bust." Master Merchant almost passed out by the post. He hurriedly asked the gatekeeper to conceal it and ordered servants to search for the rest of the posts on the wall of the mansion. He then asked someone to bring Romance Merchant. Romance rushed over and Master asked, "Have you investigated the nuns in the Water Moon Nunnery?" Romance replied, "No. Celery is in charge." Master asked, "How do you know whether Celery is capable of it or not?"--[[User:Liao Shiyun|Liao Shiyun]] ([[User talk:Liao Shiyun|talk]]) 02:10, 2 June 2022 (UTC)

==英语笔译廖诗韵 Liao Shiyun 202170081582==

贾琏道：“老爷既这么说，想来芹儿必有不妥当的地方儿。”贾政叹道：“你瞧瞧这个帖儿写的是什么。”贾琏一看道：“有这样事么。”正说着，只见贾蓉走来，拿着一封书子，写着“二老爷密启”。打开看时，也是无头榜一张，与门上所贴的话相同。贾政道：“快叫赖大带了三四辆车子到水月庵里去，把那些女尼女道士一齐拉回来。不许泄漏，只说里头传唤。”赖大领命去了。且说水月庵中小女尼女道士等，初到庵中，沙弥与道士原系老尼收管，日间教他些经忏。以后元妃不用，也便习学得懒怠了。那些女孩子们年纪渐渐的大了，都也有个知觉了。
Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.

Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:02, 30 May 2022 (UTC)

==英语笔译刘唱 Liu Chang 202170081583==

更兼贾芹也是风流人物，打量芳官等出家，只是小孩子性儿，便去招惹他们。那知芳官竟是真心，不能上手，便把这心肠移到女尼女道士身上。因那小沙弥中有个名叫沁香的，和女道士中有个叫做鹤仙的，长得都甚妖娆，贾芹便和这两个人勾搭上了，闲时便学些丝弦，唱个曲儿。那时正当十月中旬，贾芹给庵中那些人领了月例银子，便想起法儿来，告诉众人道：“我为你们领月钱，不能进城，又只得在这里歇着。怪冷的，怎么样？我今儿带些果子酒，大家吃着乐一夜，好不好？”那些女孩子都高兴，便摆起桌子，连本庵的女尼也叫了来，惟有芳官不来。

Moreover, Celery Merchant was a also a play boy, he saw the nuns including Fagrant Official and flirted with them for the sake of his curiosity.However, Fragrant Official was serious about love affairs so that he could’t get anything from her and just targeted at other nuns and women Taoist priest, There were a little monk named Aroma and a woman Taoist priest named Crane Fairy. They both had a pretty appearance so that Celery Merchant made friends with them. He spent his spare time learning instruments and singing opera. It was the middle of Octorber, and Celery Merchant got the salary fort the people in the convent. Then a thought occurred in his mind. He told the people that:”I got the salary for you so that I can’t get into the town and I have to stay at such a cold place. I brought some fruit wine and we can have a feast tonight, how about it?” The girls were happy about it and set the tables. They even invited the nuns in the convent, however, Fragrant Official refused it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:01, 30 May 2022 (UTC)

Moreover, Celery Merchant was a also a play boy. He saw the nuns including Fagrant Official and flirted with them for the sake of his curiosit. However, Fragrant Official was serious about relationships so that he could’t get anything from her and just targeted at other nuns and women Taoist priests. There were a little monk named Aroma and a woman Taoist priest named Crane Fairy. They both had a pretty appearance so that Celery Merchant made friends with them. He spent his spare time learning instruments and singing opera. It was the middle of Octorber, and Celery Merchant got the salary fort the people in the convent. Then a thought occurred in his mind. He told the people that:”I got the salary for you so that I can’t get into the town and I have to stay at such a cold place. I brought some fruit wine and we can have a feast tonight, how about it?” The girls were happy about it and set the tables. They even invited the nuns in the convent, however, Fragrant Official refused it.--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 06:50, 2 June 2022 (UTC)

==英语笔译刘乐乐 Liu Lele 202170081584==

贾芹喝了几杯，便说道要行令。沁香等道：“我们都不会，到不如搳拳罢。谁输了喝一杯，岂不爽快？”本庵的女尼道：“这天刚过晌午，混嚷混喝的不像，且先喝几盅，爱散的先散去。谁爱陪芹大爷的，回来晚上尽子喝去，我也不管。”正说着，只见道婆急忙进来说：“快散了罢，府里赖大爷来了。”众女尼忙乱收拾，便叫贾芹躲开。贾芹因多喝了几杯，便道：“我是送月钱来的，怕什么！”话犹未完，已见赖大进来。见这般样子，心里大怒。为的是贾政吩咐不许声张，只得含糊装笑道：“芹大爷也在这里呢么？”贾芹连忙站起来道：“赖大爷，你来作什么？”

After a few drinks, Celery Merchant proposed to play a drinking game. Pleasure Fragrance and the others said that they didn’t know the game so it would be better if they play finger-guess which is easy and fun: losers drink.“it’s inappropriate to drink and game since it’s only past midday. We can drink a little and return. For those who want to game with Mr. Merchant, just come here at night and I would say nothing about it.”A nun objected. As they spoke, a nun rushed in and said, “Stop it right now! Mr.Rely is here.”All the nuns started to clean it up and advised Celery Merchant to hide. “No need to panic. I’m here to deliver you the month allowance.”Celery Merchant bragged since he got loaded. He didn’t finish his words when Big rely came in, who was infuriated at the scene, but had to follow Master Merchant’s instruction to keep it down and so he smiled, “Didn’t expect to see you here, Mr.Celery Merchant. Celery Merchant stood up immediately, “Mr.Rely, what brings you here?”--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 12:35, 29 May 2022 (UTC)

After a few drinks, Celery Merchant proposed to play a drinking game. Pleasure Fragrance and the others said that they didn’t know the game so it would be better if they play finger-guess which is easy and fun: losers drink.“it’s inappropriate to drink and game since it’s only past midday. We can drink a little and return. For those who want to game with Mr. Merchant, just come here at night and I would say nothing about it.”A nun objected. As they spoke, a nun rushed in and said, “Stop it right now! Mr.Rely is here.”All the nuns started to clean it up and advised Celery Merchant to hide. “No need to panic. I’m here to deliver you the month allowance.”Celery Merchant bragged since he got loaded. He didn’t finish his words when Big rely came in, who was infuriated at the scene, but had to follow Master Merchant’s instruction to keep it down and so he smiled, “Didn’t expect to see you here, Mr.Celery Merchant. Celery Merchant stood up immediately, “Mr.Rely, what brings you here?”--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 09:18, 2 June 2022 (UTC)

==英语笔译刘双英 Liu Shuangying 202170081585==

赖大说：“大爷在这里更好。快快叫沙弥道士收拾，上车进城，宫里传呢。”贾芹等不知原故，还要细问。赖大说：“天已不早了，快快的，好赶进城。”众女孩子只得一齐上车。赖大骑着大走骡，押着赶进城，不提。却说贾政知道这事，气得衙门也不能上了，独坐在内书房叹气。贾琏也不敢走开。忽见门上的进来禀道：“衙门里今夜该班是张老爷。因张老爷病了，有知会来请老爷补一班。”贾政正等赖大回来要办贾芹，此时又要该班，心里纳闷，也不言语。贾琏走上去说道：“赖大是饭后出去的，水月庵离城二十来里，就赶进城，也得二更天。今日又是老爷的帮班，请老爷只管去。

Big Rely replied:“I’m glad you’re here, sir. Tell these novices to get ready at once to drive to town. They’re wanted in the palace.”This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.

“Pleased to find you here, sir,” said Lai Da, ”We must get the young ladies ready as quickly as possible, and take them back to town. They're wanted at the Palace.” This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:20, 30 May 2022 (UTC)

==英语笔译刘婷 Liu Ting 202170081586==

赖大来了，叫他押着，也别声张，等明儿老爷回来再发落。倘或芹儿来了，也不用说明，看他明儿见了老爷怎么样说。”贾政听来有理，只得上班去了。贾琏抽空才要回到自己房中，一面走着，心里抱怨凤姐出的主意，欲要埋怨，因他病着，只得隐忍，慢慢的走着。且说那些下人，一人传十，传到里头，先是平儿知道，即忙告诉凤姐。凤姐因那一夜不好，恹恹的总没精神，正是惦记铁槛寺的事情。听说“外头贴了匿名揭帖”的一句话，吓了一跳，忙问：“贴的是什么？”平儿随口答应，不留神，就错说了，道：“没要紧，是馒头庵里的事情。”

When Lai Da gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Qin comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Jia Zheng left with some reluctance for the Board. As soon as he had gone Jia Lian set off back to his own apartment, brooding as he went on what he was going to say to Xi-feng. He held her to blame for having given Qin this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Xi-feng had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”

When Big Rely gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Celery comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Master Merchant left with some reluctance for the Board. As soon as he had gone Romance Merchant set off back to his own apartment, brooding as he went on what he was going to say to Sister Phoenix. He held her to blame for having given Celery this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Sister Phoenix had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:50, 30 May 2022 (UTC)

==英语笔译刘瑶 Liu Yao 202170081587==

凤姐本是心虚，听见“馒头庵的事情”，这一唬直唬怔了，一句话没说出来，急火上攻，眼前发晕，咳嗽了一阵，哇的一声，吐出一口血来。平儿慌了，说道：“水月庵里，不过是女沙弥女道士的事，奶奶着什么急？”凤姐听是水月庵，才定了定神，说道：“呸，糊涂东西！到底是水月庵呢，是馒头庵？”平儿笑道：“是我头里错听了，是馒头庵，后来听见不是馒头庵，是水月庵。我刚才也就说溜了嘴，说成馒头庵了。”凤姐道：“我就知道是水月庵。那馒头庵与我什么相干！原是这水月庵是我叫芹儿管的。大约刻扣了月钱。”平儿道：“我听着不像月钱的事，还有些腌臜话呢。”

Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.

Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:41, 30 May 2022 (UTC)

==英语笔译刘珍 Liu Zhen 202170081588==

凤姐道：“我更不管那个。你二爷那里去了？”平儿说：“听见老爷生气，他不敢走开。我听见事情不好，我吩咐这些人不许吵嚷，不知太太们知道了么。但听见说，老爷叫赖大拿这些女孩子去了。且叫个人前头打听打听。奶奶现在病着，依我竟先别管他们的闲事。”正说着，只见贾琏进来。凤姐欲待问他，见贾琏一脸的怒气，暂且装作不知。贾琏饭没吃完，旺儿来说：“外头请爷呢，赖大回来了。”贾琏道：“芹儿来了没有？”旺儿道：“也来了。”贾琏便道：“你去告诉赖大，说：老爷上班儿去了，把这些个女孩子暂且收在园里，明日等老爷回来，送进宫去。只叫芹儿在内书房等着我。”

"Well, I care even less about that.Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Lai Da to bring all the girls back from the Temple. I'll send someone out to see what's happened.Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance.ia Lian had not finished eating his dinner when Brightie came in.‘Lai Da's back, sir.”“Is Celery with him?”"Yes, sir.”‘Tell Lai Da the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace.Tell Celery to wait for me in the inner library.”

"Well, I care even less about that. Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Big Lie to bring all the girls back from the Temple. I'll send someone out to see what's happened. Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance. Romance Merchant had not finished eating his dinner when Brightie came in.‘Big Lie's back, sir." "Is Celery with him?" "Yes, sir." "Tell Big Lie the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace. Tell Celery to wait for me in the inner library."--[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 01:46, 31 May 2022 (UTC)

==英语笔译龙翰良 Long Hanliang 202170081589==

旺儿去了。贾芹走进书房，只见那些下人指指点点不知说什么，看起这个样儿来，不像宫里要人。想着问人，又问不出来。正在心里疑惑，只见贾琏走出来，贾芹便请了安，垂手侍立，说道：“不知道娘娘宫里即刻传那些孩子们做什么？叫侄儿好赶！幸喜侄儿今儿送月钱去，还没有走，便同着赖大来了。二叔想来是知道的。”贾琏道：“我知道什么？你才是明白的呢！”贾芹摸不着头脑儿，也不敢再问。贾琏道：“你干得好事！把老爷都气坏了。”贾芹道：“侄儿没有干什么。庵里月钱是月月给的，孩子们经忏是不忘记的。”

Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.

Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.--[[User:Luo Yaolin|Luo Yaolin]] ([[User talk:Luo Yaolin|talk]]) 05:13, 30 May 2022 (UTC)

==英语笔译罗姚林 Luo Yaolin 202170081590==

贾琏见他不知，又是平素常在一处顽笑的，便叹口气道：“打嘴的东西！你各自去瞧瞧罢！”便从靴掖儿里头拿出那个揭帖来，扔与他瞧。贾芹拾来一看，吓的面如土色，说道：“这是谁干的！我并没得罪人，为什么这么坑我？我一月送钱去，只走一趟，并没有这些事。若是老爷回来，打着问我，侄儿便该死了。我母亲知道，更要打死。”说着，见没人在旁边，便跪下去说道：“好叔叔，救我一救儿罢！”说着，只管磕头，满眼流泪。贾琏想道：“老爷最恼这些，要是问准了有这些事，这场气也不小。闹出去也不好听，又长那个贴帖儿的人的志气了。将来咱们的事多着呢。Having noticed that he indeed had no idea about it, and they themselves privately were on speaking terms, Romance Merchant sighed," You bastard.! Take and see it carefully!" as putting out a notice from his shoes and throwing it to Celery Merchant. At the sight of the notice, Celery Merchant said questioningly with his face ashy gray," Who made it? I never gave offence to anybody, why should I be ensnared like this? I merely went there once a month for sending money and never did such things. I would be sunk if the master asked me about it after his back, and the consequence would be even worse if my mom knew it." Seeing no other people around here, Celery Merchant knelt down to implore him,"my dear uncle, please help me, please!" followed kowtowing and tearing constantly. "Master is very vexed with such things and must be extremely angry with this if he knew it's true." Romance Merchant thought to himself, "And the family's reputation would be blemished for the spreading of it, which, on the contrary, the notice maker would be therefore more arrogant. There are many other concerns in the future."

Having noticed that he indeed had no idea about it, and they themselves privately were on speaking terms, Romance Merchant sighed," You bastard.! Take and see it by yourself!" as putting out a notice from his shoes and throwing it to Celery Merchant. At the sight of the notice, Celery Merchant said questioningly with his face ashy gray," Who made it? I never gave offence to anybody, why should I be ensnared like this? I merely went there once a month for sending money and never did such things. I would be sunk if the master asked me about it after his back, and the consequence would be even worse if my mom knew it." Seeing no other people around here, Celery Merchant knelt down to implore him,"my dear uncle, please help me, please!" followed kowtowing and tearing constantly. "Master is very vexed with such things and must be extremely angry with this if he knew it's true." Romance Merchant thought to himself, "And the family's reputation would be blemished for the spreading of it, which, on the contrary, the notice maker would be therefore more arrogant. There are many other concerns in the future."--[[User:Ma Yanhuan|Ma Yanhuan]] ([[User talk:Ma Yanhuan|talk]]) 02:38, 2 June 2022 (UTC)

==英语笔译马艳焕 Ma Yanhuan 202170081591==

倒不如趁着老爷上班儿，和赖大商量着，若混过去，就可以没事了。现在没有对证。”想定主意，便说：“你别瞒我，你干的鬼鬼祟祟的事，你打谅我都不知道呢。若要完事，就是老爷打着问你，你一口咬定没有才好。没脸的，起去罢！”叫人去唤赖大。不多时，赖大来了，贾琏便与他商量。赖大说：“这芹大爷本来闹的不像了。奴才今儿到庵里的时候，他们正在那里喝酒呢。帖儿上的话，是一定有的。”贾琏道：“芹儿，你听！赖大还赖你不成？”贾芹此时红涨了脸，一句也不敢言语。还是贾琏拉着赖大，央他：“护庇护庇罢，只说贾芹哥儿在家里找来的。

It would be better to take advantage of the master to go to work and discuss with Big Lie. If you muddle through, you will be all right. There is no counterevidence now. " When he made up his mind, he said, "Don't lie to me. You think I don't know about the furtive things you've done." In the worst-case scenario, if your lordship tortures you, you must insist that you don't have it. Shameless, go away! "He sent someone to call Big Lie. After a while, when Big Lie came, Romance Merchant discussed it with him. Big Lie said, "Uncle Qin didn't look like it anymore." When the lackeys came to the nunnery today, they were drinking there. There must be some words on the post. " Romance Merchant said, " Celery, listen! Can Big Lie still put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and told him, "Please protect him, only say that Celery took it at home."

It would be better to discuss with Big Rely to come up with an excuse to get ride of the trouble while Master is away for work. If you muddle through, you will be all right. Now no one can verify this." When he made up his mind, he said, "Don't you lie to me. You think I don't know about the furtive things you've done? In the worst-case scenario, even if your lordship tortures you, you must insist that you didn’t make it. You the shameless guy, just go away! "He sent someone to call Big Rely. After a while, when he came, Romance Merchant discussed it with him. Then Big Rely said, "Master Celery really did a shameful thing. When I came to the nunnery today, they were drinking there. The things depicted on the post must have happened." Romance Merchant said, " Celery, listen! Can Big Rely put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and begged him, "Please protect him, and just say that Celery found it at home."--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 02:50, 30 May 2022 (UTC)

==英语笔译聂薇 Nie Wei 202170081592==

你带了他去，只说没有见我。明日你求老爷，也不用问那些女孩子了。竟是叫了媒人来，领了去，一卖完事。果然娘娘再要的时候儿，咱们再买。”赖大想来，闹也无益，且名声不好，就应了。贾琏叫贾芹：“跟了赖大爷去罢！听着他教你，你就跟着他。”说罢，贾芹又磕了一个头，跟着赖大出去。到了没人的地方儿，又给赖大磕头。赖大说：“我的小爷，你太闹的不像了。不知得罪了谁，闹出这个乱儿。你想想，谁和你不对罢？”贾芹想了一想，忽然想起一个人来，话说赖大带了贾芹出来，一宿无话，静候贾政回来。单是那些女尼女道重进园来，都喜欢的了不得，欲要到各处逛逛，明日预备进宫。

You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one is around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this thing. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and monks went into the park, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.

You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one was around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this affair. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and female Buddhist monks went into the garden, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:58, 28 May 2022 (UTC)

==英语笔译孙丽君 Sun Lijun 202170081593==

不料赖大便吩咐了看院的婆子并小厮看守，惟给了些饮食，却是一步不准走开。那些女孩子摸不着头脑，只得坐着，等到天亮。园里各处的丫头虽都知道拉进女尼们来，预备宫里使唤，却也不能深知原委。到了明日早起，贾政正要下班，因堂上发下两省城工估销册子，立刻要查核，一时不能回家，便叫人回来告诉贾琏说：“赖大回来，你务必查问明白。该如何办就如何办了，不必等我。”贾琏奉命，先替芹儿喜欢，又想道：“若是办得一点影儿都没有，又恐贾政生疑，不如回明二太太，讨个主意办去，便是不合老爷的心，我也不至甚担干系。”

Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those Buddhist nuns. Only provided with some drinks and foods, they were not allowed to step out of this garden. They didn’t have the least idea of what happened, but to stay here till next morning. The girls in the garden knew that those nuns were called in here to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to end the morning court, for he needed to re-check the evaluation booklet on city workers of two provinces at once, he couldn’t go back home for a short while. Thus he just sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just go forward according to the situation.” Receiving orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”

Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those nuns who were provided with some drinks and foods, but not allowed to step out of that garden. The nuns didn’t have the least idea of what happened and had to stay there till next morning. The girls in the garden knew that those nuns were called in to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to knock off, for he needed to re-check the evaluation booklet on city engineering of two provinces at once, he couldn’t go back home for a short while. Thus, he sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just deal with it according to the situation.” Receiving the orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 12:07, 29 May 2022 (UTC)

==英语笔译仝雨梦 Tong Yumeng 202170081594==

主意定了，进内去见王夫人，陈说：“昨日老爷见了揭帖生气，把芹儿和女尼女道等都叫进府来查办。今日老爷没空问这种不成体统的事，叫我来回太太，该怎么便怎么样。我所以来请示太太，这件事如何办理？”王夫人听了咤异道：“这是怎么说！若是芹儿这么样起来，这还成咱们家的人了么？但只这个贴帖儿的也可恶！这些话可是混嚼说得的么？你到底问了芹儿有这件事没有呢？”贾琏道：“刚才也问过了。太太想，别说他干了没有，就是干了，一个人干了混帐事也肯应承么？但只我想芹儿也不敢行此事：知道那些女孩子都是娘娘一时要叫的，倘或闹出事来，怎么样呢？

With that in mind, Romance Merchant came into Lady King's room and reported to her, "Yesterday, being outraged by that letter, the master instructed that taking Celery Merchant and those Buddhist and Taoist nuns into the mansion to investigate them. Today he is too busy to bother about such a disgraceful matter, and then ordered me to report to you that dealing with it as you wish. So, I'm here to ask you how to cope with it." "Why! It's unreasonable to regard Celery Merchant as one of our family, let alone his disreputable behavior today. Moreover, the one who pasted that letter is detestable! How could they gossip about such things! Have you asked Celery Merchant this matter or not?" Lady King said with astonishment. "I asked him just now. Even if he did that, how could he admit such indecent behavior? Leave alone he might be innocent. Think about it. But I assume that he dared not to do such a thing, knowing the girls would be called by the imperial concubine someday. What will he do if something happens?" replied Romance Merchant.

Thus resolved, he went in to see Lady King.“Yesterday the master was angry over that lampoon,”he announced, explaining its contents.“He had Celery and the novices brought here for an investigation. Today he is too busy to bother about such a disgraceful matter, and then ordered me to report to you that dealing with it as you wish. So, I'm here to ask you how to cope with it." "Why! It's unreasonable to regard Celery Merchant as one of our family, let alone his disreputable behavior today. Moreover, the one who pasted that letter is detestable! How could they gossip about such things! Have you asked Celery Merchant this matter or not?" Lady King said with astonishment. "I asked him just now. Even if he did that, how could he admit such indecent behavior? Leave alone he might be innocent. Think about it. But I assume that he dared not to do such a thing, knowing the girls would be called by the imperial concubine someday. What will he do if something happens?" replied Romance Merchant.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 05:13, 2 June 2022 (UTC)

==英语笔译童略雅 Tong Lueya 202170081595==

依侄儿的主见，要问也不难，若问出来，太太怎么个办法呢？”王夫人道：“如今那些女孩子在那里？”贾琏道：“都在园里锁着呢。”王夫人道：“姑娘们知道不知道？”贾琏道：“大约姑娘们也都知道是预备宫里头的话，外头并没提起别的来。”王夫人道：“狠是。这些东西一刻也是留不得的。头里我原要打发他们去来着，都是你们说留着好，如今不是弄出事来了么？你竟叫赖大那些人带去细细的问他的本家有人没有，将文书查出，花上几十两银子，雇只船，派个妥当人，送到本地，一概连文书发还了，也落得无事。若是为着一两个不好，个个都押着他们还俗，那又太造孽了；

To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort,to where they came from. When they’ve all been manumitted that will be the end of that.If we were to force them all to go back to secular life just because one or two of them have gone to the bad, that would be too heartless.

To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort, to where they came from. When they’ve all been manumitted that will be the end of that. Even if one or two of them have been up to some mischief, I don't think it would be fair to punish them indiscriminately, by making them all return to lay-life.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:21, 29 May 2022 (UTC)

==英语笔译庹树梅 Tuo Shumei 202170081596==

若在这里发给官媒，虽然我们不要身价，他们弄去卖钱，那里顾人的死活呢？芹儿呢，你便狠狠的说他一顿，除了祭祀喜庆，无事叫他不用到这里来。看仔细碰在老爷气头儿上，那可就吃不了兜着走了。并说与帐房儿里，把这一项钱粮档子销了。还打发个人到水月庵说：老爷的谕：除了上坟烧纸，若有本家爷们到他那里去，不许接待。若再有一点不好风声，连老姑子一并撵出去。”贾琏一一答应了出去，将王夫人的话告诉赖大，说：“是太太主意，叫你这么办去。办完了，告诉我去回太太。你快办去罢。回来老爷来，你也按着太太的话回去。”

And if we made them over to official brokers here, even though we didn't ask for any money they'd still sell them, not caring at all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send word to Water Moon Convent that, on the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.

And if we made them over to officials here, even though we didn't ask for money they'd still sell them, not caring about all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send words to Water Moon Convent that, according to the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:24, 30 May 2022 (UTC)

==英语笔译王思琪 Wang Siqi 202170081597==

赖大听说，便道：“我们太太真正是个佛心，这班东西着人送回去。既是太太好心，不得不挑个好人。芹哥儿竟交给二爷开发了罢。那个贴帖儿的，奴才想法儿查出来，重重的收拾他才好。”贾琏点头说：“是了。”即刻将贾芹发落。赖大也赶着把女尼等领出，按着主意办去了。晚上贾政回家，贾琏赖大回明贾政。贾政本是省事的人，听了也便撂开手了。独有那些无赖之徒，听得贾府发出二十四个女孩子出来，那个不想？究竟那些人能彀回家不能，未知着落，亦难虚拟。且说紫鹃因黛玉渐好，园中无事，听见女尼等预备宫内使唤，不知何事，便到贾母那边打听打听。

When Lai Da heard this, he said, "Our ladyship is really a Buddha," and this class of things was sent back." Both are too kind to have to pick a good person. Brother Qin actually handed it over to Precious Jade to develop. The one who posted it, the slave thought about finding out, and it was good to clean up after him. Jia Lian nodded and said, "Yes." "Immediately send Jia Qin down." Lai Da also hurried to lead the nuns out and did as he was told. In the evening, Jia Zheng went home, and Jia Lianlai returned to Ming Jia Zheng. Jia Zheng was originally a convenient person, and when he heard it, he opened his hand. Only those rogues, I heard the Jia send out twenty-four girls out, that doesn't want to? In the end, those people can go home and can't, the unknown location, and it is difficult to be virtual. Moreover, it is said that the Purple Crane is getting better because of , and there is nothing to do in the garden, so when he heard the nuns and other nuns preparing for the palace, they did not know what to do, so they went to Lady Wang's house to inquire.

When Big Rely heard this, he said, "Our ladyship is really like a Buddha," and this class of things was sent back." Both are too kind to have to pick a good person. Brother Celery actually handed it over to Precious Jade to develop. The one who posted it, the slave thought about finding out, and it was good to clean up after him. Romance Merchant nodded and said, "Yes." "Immediately send Celery down." Big Rely also hurried to lead the nuns out and did as he was told. In the evening, Politics Merchant went home, and omance Merchant returned to tell him. He was originally a convenient person, and when he heard it, he opened his hand. Only those rogues, I heard the Merchant send out twenty-four girls out, that doesn't want to? In the end, those people can go home and can't, the unknown location, and it is difficult to be virtual. Moreover, it is said that the Purple Crane is getting better because of , and there is nothing to do in the garden, so when he heard the nuns and other nuns preparing for the palace, they did not know what to do, so they went to Lady Wang's house to inquire.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 05:17, 1 June 2022 (UTC)

==英语笔译王亚娟 Wang Yajuan 202170081598==

恰遇着鸳鸯下来闲着，坐下说闲话儿，提起女尼的事，鸳鸯咤异道：“我并没有听见，回来问问二奶奶就知道了。”正说着，只见傅试家两个女人过来请贾母的安，鸳鸯要陪了上去。那两个女人因贾母正睡晌觉，就与鸳鸯说了一声儿，回去了。紫鹃问：“这是谁家差来的？”鸳鸯道：“好讨人嫌！家里有了一个女孩儿，生得好些，便献宝的是的，常常在老太太面前夸他家姑娘长得怎么好，心地怎么好，礼貌上又能，说话儿又简绝，做活计儿手儿又巧，会写会算，尊长上头最孝敬的，就是待下人也是极和平的，来了就编这么一大套，常常说给老太太听。我听着狠烦。

Happen to meet Mandarin Duck’s leisure, they sat chatting. The mention of Buddhist nun surprises Mandarin Duck:“I didn’t hear it and we will know after second grandma come.” Whiling saying, Mandarin Duck planned to welcome two women in Testing Assist’s family coming to visit Grandma Merchant. Because Mother Merchant was sleeping at noon, the two women spoke to the Mandarin Duck and went back. Purple Cuckoo asked, "Whose family sent this?" Mandarin Duck said: "What a nuisance! They praised their beautiful daughter as treasures in the presence of Mother Merchant by boasting her good nature, appearance ,politeness and eloquence. The girl was skillful at writing and calculating, and the most dutiful of her superiors was very peaceful to servants. When she came, she would make up such a talk and often told the old lady. I'm sick of hearing it.

She happened to find Mandarin Duck free too, and sitting down to chat she asked her about the nuns. “This is news to me,” said Mandarin Duck in surprise. “I’ll find out later on from Madam Phoenix.” As they were talking, two serving-women from Test Assist’s family arrived to pay their respects to the Lady Dowager. Mandarin Duck was taking them there when they heard that the old lady was having a nap, so the women delivered their message to her and left. “Where are they from?” asked Nightingale. “They’re perfect pests!”Mandarin Duck told her. “The Assists have a daughter who is not bad-looking, so they keep coming to praise her to the old lady for her good looks, good heart and good manners. They say she’s no chatter-box but a skilled needlewoman, who can write and keep accounts too, most dutiful to her elders and kind to the servants. Each time they come they reel all this off, as if offering the old lady some rare treasure. I can’t bear listening to them!--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:39, 29 May 2022 (UTC)

==英语笔译肖冬晴 Xiao Dongqing 202170081599==

这几个老婆子真讨人嫌。我们老太太偏爱听那些个话。老太太也罢了，还有宝玉，素常见了老婆子，便狠厌烦的，偏见了他们家的老婆子便不厌烦，你说奇不奇？前儿还来说：他们姑娘现有多少人家儿来求亲，他们老爷总不肯应，心里只要和咱们这种人家作亲才肯。一回夸奖，一回奉承，把老太太的心都说活了。”紫鹃听了一呆，便假意道：“若老太太喜欢，为什么不就给宝玉定了呢？”鸳鸯正要说出原故，听见上头说：“老太太醒了。”鸳鸯赶着上去，紫鹃只得起身出来。回到园里，一头走，一头想道：“天下莫非只有一个宝玉？你也想他，我也想他。

But although they’re such a nuisance, our old lady loves that kind of talk. She isn’t the only one either. Even Precious Jade who can’t abide most old women doesn’t mind these from the Assist family. Odd, isn’t it? Only the other day they came to say that lots of people are asking for their young lady, but her father won’t give his consent hinting that only a family like ours would be good enough for her. All their praise and flattery are having some effect on the old lady.” Though taken aback, Nightingale asked with a show of indifference, “If she thinks it a good match for Precious Jade, then why not fix it up?” Before Mandarin Duck could explain someone inside called Out, “The old lady’s woken!” Mandarin Duck hurried in then and Nightingale got up to leave. On her way back to the Garden she ruminated, “Is there only one Precious Jade in the world that everybody should want him?

But although they’re such a nuisance, our old lady loves that kind of talk. She isn’t the only one either. Even Precious Jade who can’t abide most old women doesn’t mind these from the Assist family. Odd, isn’t it? Only the other day they came to say that lots of people are asking for their young lady, but her father won’t give his consent hinting that only a family like ours would be good enough for her. All their praise and flattery are having some effect on the old lady.” Though taken aback, Nightingale asked with a show of indifference, “If she thinks it a good match for Precious Jade, then why not fix it up?” Before Mandarin Duck could explain someone inside called Out, “The old lady’s woken!” Mandarin Duck hurried in then and Nightingale got up to leave. On her way back to the Garden she ruminated, “Is there only one Precious Jade in the world that everybody should want him?--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:06, 31 May 2022 (UTC)

==英语笔译肖佳莉 Xiao Jiali 202170081600==

我们家的那一位，越发痴心起来了。看他的那个神情儿，是一定在宝玉身上的了。三番五次的病，可不是为着这个是什么！这家里‘金’的‘银’的还闹不清，若添了一个什么傅姑娘，更了不得了。我看宝玉的心也在我们那一位的身上；听着鸳鸯的说话，竟是见一个爱一个的。这不是我们姑娘白操了心了吗？”紫鹃本是想着黛玉，往下一想，连自己也不得主意了，不免掉下泪来。要想叫黛玉不用瞎操心呢，又恐怕他烦恼；若是看着他这样，又可怜见儿的。左思右想，一时烦躁起来，自己啐自己道：

And our young lady's the one who dotes on him most. Whenever I see her sinking into one of her depressions, I can tell it's because of him. That's what has been making her fall ill all the time too. There's confusion enough here already, what with gold unicorns and gold lockets, without foisting another Miss Fu on us too! I think it's our young lady that Precious Jade Merchant fancies; but judging by what Fragrant Official says, he falls in love with every girl he meets. If so, our young lady's eating her heart out for nothing.” From thinking of Mascara Jade Fores she went on to wonder what she herself should do, until she felt quite distracted. Though tempted to advise Mascara Jade Forest to stop caring so much for Precious Jade Merchant, she was afraid this would upset her; yet seeing her like this made her heart bleed. The more she brooded the more anxious she grew.

You can see by the way she behaves that she’s set her heart on him: Whenever I see her sinking into one of her depressions, I can tell it's because of him. That's what has been making her fall ill all the time too. There's confusion enough here already, what with gold unicorns and gold lockets, without foisting another Miss Fu on us too! I think it's our young lady that Precious Jade fancies; but judging by what Fragrant Official says, he falls in love with every girl he meets. If so, our young lady's eating her heart out for nothing.” From thinking of Mascara Jade she went on to wonder what she herself should do, until she felt quite distracted. Though tempted to advise Mascara Jade to stop caring so much for Precious Jade, she was afraid this would upset her; yet seeing her like this made her heart bleed. The more she brooded the more anxious she grew.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 08:55, 1 June 2022 (UTC)

==英语笔译谢晓莹 Xie Xiaoying 202170081601==

“你替人耽什么忧！就是林姑娘真配了宝玉，他的那性情儿也是难伏侍的。宝玉性情虽好，又是贪多嚼不烂的。我倒劝人不必瞎操心，我自己才是瞎操心呢！从今已后，我尽我的心伏侍姑娘，其余的事全不管。”这么一想，心里倒觉清净。回到潇湘馆来，见黛玉独自一人，坐在炕上理从前做过的诗文词稿，抬头见紫鹃来，便问：“你到那里去了？”紫鹃道：“我今儿睄了睄姐妹们去。”黛玉道：“敢是找袭人姐姐去么？”紫鹃道：“我找他做什么？”黛玉一想，这话怎么顺嘴说了出来？反觉不好意思，便啐道：“你找谁与我什么相干！倒茶去罢。”

“Why worry about someone else? Even if she really marries, the way she is it won’t be easy to please her; and Precious Jade, for all he’s good-natured, is too much of a flirt. But here I am hoping she’ll stop worrying yet worrying myself for nothing! From now on I’ll look after her as best I can and not care about anything else.” This conclusion helped to calm her down by the time she reached Bamboo Lodge, where she found Mascara Jade sitting all by herself on the kang sorting out her old poems and essays. She looked up when Nightingale came in. “Where have you been?” she asked. “To call on some other girls.” “Did you see Sister Aroma?” “Why should I go to see her?” Mascara Jade wondered how she had come to blurt out such a question, and in embarrassment she answered curtly, “I don’t care where you go. Fetch me some tea.”

“Why worry about someone else? Even if she really gets married, the way she is it won’t be easy to please her; and Precious Jade, for all he’s good-natured, is too much of a flirt. But here I am hoping she’ll stop worrying yet worrying myself for nothing! From now on I’ll look after her as best I can and not care about anything else.” This conclusion helped to calm her down by the time she reached Bamboo Lodge, where she found Mascara Jade sitting all by herself on the kang sorting out her old poems and essays. She looked up when Nightingale came in. “Where have you been?” she asked. “To call on some other girls.” “Did you see Sister Aroma?” “Why should I go to see her?” Mascara Jade wondered how she had come to blurt out such a question, and in embarrassment she answered curtly, “I don’t care where you go. Fetch me some tea.”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 09:02, 1 June 2022 (UTC)

==英语笔译熊嘉玲 Xiong Jialing 202170081602==

紫鹃也心里暗笑，出来倒茶。只听见园里的一叠声乱嚷，不知何故。一面倒茶，一面叫人去打听。回来说道：“怡红院里的海棠本来萎了几棵，也没人去浇灌他。昨日宝玉走去瞧，见枝头上好像有了蓇朵儿是的。人都不信，没有理他。忽然今日开得狠好的海棠花，众人咤异，都争着去看，连老太太、太太都哄动了，来瞧花儿呢。所以大奶奶叫人收拾园里败叶枯枝，这些人在那里传唤。”黛玉也听见了，知道老太太来，便更了衣，叫雪雁去打听：“若是老太太来了，即来告诉我。”雪雁去不多时，便跑来说：“老太太、太太好些人都来了，请姑娘就去罢。”

Laughing in her heart, Nightingale went out to prepare the tea and heard a clamour of voices in the Garden. When she poured the tea she sent someone to find out what had happened.The girl sent came back and told her, “Some crab-apple trees in Happy Red Court had withered, and nobody watered them; but yesterday when Precious Jade had a look he said he saw buds on the branches. No one believed him or paid any attention to it. Today, suddenly, they burst into bloom with lovely crab-apple flowers! People were so amazed that they rushed over there to look, It’s caused such a sensation that even the old lady and Her Ladyship are coming to see the flowers. So Madam Zhu’s given orders to have the leaves in the Garden swept up, and they were calling servants just now to do this.”Mascara Jade, overhearing that the old lady was coming, at once changed her clothes and sent Snowgoose out to keep watch.“Tell me as soon as the old lady comes,” she said.It was not long before Snowgoose came running back. “The old lady and the mistress have come with quite a party,” she replied.” You’d better go right away, miss.”

Nightingale smiled inwardly at the outcome of her experiment and went to pour the tea.When she poured the tea she sent someone to find out what had happened.The girl sent came back and told her, “Some crab-apple trees in Happy Red Court had withered, and nobody watered them; but yesterday when Precious Jade had a look he said he saw buds on the branches. No one believed him or paid any attention to it. Today, suddenly, they burst into bloom with lovely crab-apple flowers! People were so amazed that they rushed over there to look, It’s caused such a sensation that even the old lady and Her Ladyship are coming to see the flowers. So Madam Zhu’s given orders to have the leaves in the Garden swept up, and they were calling servants just now to do this.”Mascara Jade, overhearing that the old lady was coming, at once changed her clothes and sent Snowgoose out to keep watch.“Tell me as soon as the old lady comes,” she said.It was not long before Snowgoose came running back. “The old lady and the mistress have come with quite a party,” she replied.” You’d better go right away, miss.”--[[User:Yan Yuan9|Yan Yuan9]] ([[User talk:Yan Yuan9|talk]]) 15:31, 1 June 2022 (UTC)

==英语笔译颜媛 Yan Yuan 202170081603==

黛玉略自照了一照镜子，掠了一掠鬓发，便扶着紫鹃到怡红院来，已见老太太坐在宝玉常卧的榻上。黛玉便说道：“请老太太安。”退后便见了邢王二夫人，回来与李纨、探春、惜春、邢岫烟彼此问了好。只有凤姐因病未来；史湘云因他叔叔调任回京，接了家去；薛宝琴跟他姐姐家去住了；李家姐妹因见园内多事，李婶娘带了在外居住：所以黛玉今日见的只有数人。大家说笑了一回，讲究这花开得古怪。贾母道：“这花儿应在三月里开的，如今虽是十一月，因节气迟，还算十月，应着小阳春的天气，因为和暖，开花也是有的。”王夫人道：“老太太见的多，说得是，也不为奇。”

Dai-yu took a brief look in the mirror, passed a comb quickly through her hair and set off with Nightingale in the direction of Green Delights. She arrived to find Grandmother Jia installed on Bao-yu's day-couch,and after greeting her,and Lady Xing and Lady Wang went on to say hello to Li Wan, Tan-chun, Xi-chun and Xing Xiuyan.She noticed that several people were absent: Xi-feng was ill in bed, Shi Xiang-yun had gone home to see her uncle who was in the capital on transfer, while Bao-qin had stayed at home with Bao-chai, and the two Li sisters, Wen and Qi, had been taken to live elsewhere by their mother, whom recent events had convinced that Prospect Garden was a rather unsuitable environment for her daughters.They were all chatting away, each propounding a different interpretation of the strange phenomenon of the winter-flowering crab-trees. “They usually flower in the third month, I know,” Grandmother Jia was saying. “And we are in the eleventh month now. But then the movable terms in the calendar are rather late this year, so we could say this is more like the tenth month, which is after all sometimes called "Little Spring". With the exceptionally warm weather we have been having, a little blossom is only to be expected.”

==英语笔译杨心怡 Yang Xinyi 202170081604==

邢夫人道：“我听见这花已经萎了一年，怎么这回不应时候儿开了？必有个原故。”李纨笑道：“老太太与太太说得都是。据我的糊涂想头，必是宝玉有喜事来了，此花先来报信。”探春虽不言语，心内想：“此花必非好兆。大凡顺者昌，逆者亡；草木知运，不时而发，必是妖孽。”只不好说出来。独有黛玉听说是喜事，心里触动，便高兴说道：“当初田家有荆树一棵，三个弟兄因分了家，那荆树便枯了；后来感动了他弟兄们，仍旧归在一处，那荆树也就荣了。可知草木也随人的。如今二哥哥认真念书，舅舅喜欢，那棵树也就发了。”贾母王夫人听了喜欢，便说：“林姑娘比方得有理，狠有意思。”
Mrs. Xing said: "I saw that this flower has been withering for a year. Why should it be blooming at this time? There must be a reason." Li Wan smiled and said: "The old lady and the lady said the same thing. According to my confusion When I think about it, it must be a happy event coming to Baoyu, and this flower will come to report first." Although Tanchun did not speak, he thought in his heart: "This flower must not be a good omen. Generally, those who are obedient are prosperous, and those who are disobedient will perish; , it must be a monster." It's hard to say. When Yu Daiyu heard that it was a happy event, she was moved, and she said happily: "In the beginning, there was a thorn tree in the Tian family, and the thorn tree was withered because the three brothers separated; In one place, the wattle tree is also honored. It can be seen that the grass and trees also follow people. Now that the second brother is studying hard, and the uncle likes it, the tree is also grown." Madam Jia Muwang heard that she liked it, and said: "Miss Lin For example, it has to be reasonable and interesting.”
Mrs. Xing said: "I saw that this flower has been withering for a year. Why should it be blooming at this time? There must be a reason." Li Wan smiled and said: "The old lady and the lady said the same thing. According to my confusion When I think about it, it must be a happy event coming to Baoyu, and this flower will come to report first." Although Tanchun did not speak, he thought in his heart: "This flower must not be a good omen. Generally, those who are obedient are prosperous, and those who are disobedient will perish; , it must be a monster." It's hard to say. When Yu Daiyu heard that it was a happy event, she was moved, and she said happily: "In the beginning, there was a thorn tree in the Tian family, and the thorn tree was withered because the three brothers separated; In one place, the wattle tree is also honored. It can be seen that the grass and trees also follow people. Now that the second brother is studying hard, and the uncle likes it, the tree is also grown." Madam Jia Muwang heard that she liked it, and said: "Miss Lin For example, it has to be reasonable and interesting.”
--[[User:Yang Ziwei|Yang Ziwei]] ([[User talk:Yang Ziwei|talk]]) 05:48, 2 June 2022 (UTC)

==英语笔译杨紫微 Yang Ziwei 202170081605==

正说着，贾赦、贾政、贾环、贾兰都进来看花。贾赦便说：“据我的主意，把他砍去。必是花妖作怪。”贾政道：“‘见怪不怪，其怪自败。’不用砍他，随他去就是了。”贾母听见，便说：“谁在这里混说？人家有喜事好处，什么怪不怪的！若有好事，你们享去；若是不好，我一个人当去。你们不许混说。”贾政听了，不敢言语，赸赸的同贾赦等走了出来。那贾母高兴，叫人传话到厨房里，快快预备酒席，大家赏花。叫：“宝玉、环儿、兰儿各人做一首诗志喜。林姑娘的病才好，不要他费心；若高兴，给你们改改。”对着李纨道：“你们都陪我喝酒。”李纨答应了“是”便笑对探春笑道：“都是你闹的。”

Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all came in to see the flowers. Pardon Merchant said, "In my opinion, just cut it down. It must be flower demons which make trouble." Master Merchant added: "' If you are inured to the strange, it will not be strange. ' Don't cut it down, just let it be." When Grandma Merchant heard this, she said, "Who is talking nonsense here? There is something auspicious in store for us. If there be good things, you enjoy yourselves; If not, I will go alone. You shouldn’t fool around." Mater Merchant dare not speak when heard this, and he walked out with Pardon Merchant embarrassingly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said in a high voice: “Precious Jade, Ring and Blue, each of you to write a poem to express congratulations. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you." "You'll all drink with me," she said to Silk Plum. Silk Plum replied "yes" and then smiled at Seeking-Spring and said, "It's all your fault."

Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all arrived to see the flowers. Pardon Merchant said, “In my opinion, just cut it down. It must be flower demons which make trouble.” Master Merchant added: “On the contrary, just let them alone. Evil manifestations thrive on such superstition. Just ignore them and they will disappear.” When Grandma Merchant heard this, she said, “Who is talking nonsense here? There is something auspicious in store for us. When there’s good luck, then enjoy it while you can. If not, I will take care of any bad luck. Do not say any other word of such nonsense.” This silenced Master Merchant and he walked out with Pardon Merchant awkwardly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said: “I should like Precious Jade, Ring and Blue, each to write a poem to celebrate this occasion. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you.” “You and the others come up and drink some wine with me,” she said to Silk Plum. Silk Plum replied “yes” and then, smiling, turned to Seeking-Spring and said, “This is all your fault.”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 04:40, 29 May 2022 (UTC)

==英语笔译张国浩 Zhang Guohao 202170081606==

探春道：“饶不叫我们做诗，怎么我们闹的？”李纨道：“海棠社不是你起的么？如今那棵海棠也要来入社了。”大家听着，都笑了。一时，摆上酒菜，一面喝着。彼此都要讨老太太的欢喜，大家说些兴头话。宝玉上来斟了酒，便立成了四句诗，写出来念与贾母听，道：海棠何事忽摧隤，今日繁花为底开？应是北堂增寿考，一阳旋复占先梅。贾环也写了来，念道：草木逢春当茁芽，海棠未发候偏差。人间奇事知多少，冬月开花独我家。贾兰恭楷誊正，呈与贾母。贾母命李纨念道：烟凝媚色春前萎，霜浥微红雪后开。莫道此花知识浅，欣荣预佐合欢杯。

Seeking-Spring protested, “What do you mean? We are not allowed to write poems. And what’s my fault?” “Aren’t you the founder of crab-flower club?”, replied Silk Plum. “Now the real crab-flower is going to join in this club too.” Everyone laughed after what Silk Plum had said. Food and wine now were served and they all drank. They tried their best to amuse Grandma Merchant with some humorous conversations. Precious Jade came up to pour himself some wine, then thought for a while and wrote a poem. Then he read it to his grandma. The poem said: I asked the crab-tree why it failed to blossom at the blossom-time, now you bloomed so profusely so long before the spring? The tree said: ‘At this time, it means new birth.’, Glad tidings to the Mistress of this House I bring. Then Ring Merchant also wrote out his poem and began to recite: Plants should begin to grow up in spring, our crab-tree blossomed at a wrong time. Of all the wonders in the world, it is the first time for trees to blossom in winter in our home. Then Cymbidium Merchant made a careful copy of his poem in Kai-shu calligraphy and gave it to Grandma Merchant. Grandma Merchant asked Silk Plum to read it out: Your beauty blighted in spring, but you blossom in winter now. Don not say this tree is not wise, it adds luster to our family prosperity.

“We’ve not even been allowed to write poems,” retorted Seeking-Spring. “So surely this has nothing to do with us?” “Didn’t you start the Begonia Society? Now these crab-apples’ want to join your club too.” At that everybody laughed. Presently wine and dishes were served. And as they drank they all tried to please the old lady by cheerful talk. Precious Jade poured wine for the others, then made tip and wrote out a quatrain which he read to his grandmother. It was as follows: What made the crab-apple wither away? And today why have fresh blossoms come? To foretell a long life for our Old Ancestress It is flowering anew, ahead of the plum. Ring Merchant also wrote and read out this poem: Crab-apples should burgeon in the spring, But ours were bare this year. The world is full of strange phenomena, Yet only here do winter blooms appear. Cymbidium Merchant wrote out his verse neatly and presented it to the old lady, who made Silk Plum read it out as follows: Its misty charm had faded by last spring, But after snow and frost pink blooms unfold. Do not accuse this flower of ignorance— Good fortune at this feast it has foretold.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 01:55, 29 May 2022 (UTC)

==英语笔译张姣玲 Zhang Jiaoling 202170081607==

贾母听毕，便说：“我不大懂诗，听去倒是兰儿的好，环儿做得不好。都上来吃饭罢。”宝玉看见贾母喜欢，更是兴头，因想起：“晴雯死的那年，海棠死的；今日海棠复荣，我们院内这些人，自然都好，但是晴雯不能像花的死而复生了。”顿觉转喜为悲。忽又想起前日巧姐提凤姐要把五儿补入，或此花为他而开，也未可知。却又转悲为喜，依旧说笑。贾母还坐了半天，然后扶了珍珠回去了，王夫人等跟着过来。只见平儿笑嘻嘻的迎上来，说：“我们奶奶知道老太太在这里赏花，自己不得来，叫奴才来伏侍老太太、太太们。还有两匹红送给宝二爷包裹这花，当作贺礼。”
The old lady said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”

Grandma Merchant said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:37, 30 May 2022 (UTC)

==英语笔译张瑞 Zhang Rui 202170081608==

袭人过来接了，呈与贾母看。贾母笑道：“偏是凤丫头行出点事儿来，叫人看着又体面，又新鲜，狠有趣儿！”袭人笑着向平儿道：“回去替宝二爷给二奶奶道谢：要有喜，大家喜。”贾母听了，笑道：“嗳哟，我还忘了呢！凤丫头虽病着，还是他想得到，送得也巧。”一面说着，众人就随着去了。平儿私与袭人道：“奶奶说，这花开得奇怪，叫你铰块红绸子挂挂，便应在喜事上去了。以后也不必只管当作奇事混说。”袭人点头答应，送了平儿出去不题。且说那日宝玉本来穿着一裹圆的皮袄在家歇息，因见花开，只管出来看一回、赏一回、叹一回、爱一回的，心中无数悲喜离合，都弄到这株花上去了。

Aroma came to pick it up and presented it to Grandma Merchant to see. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come.In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Ping'er out without a question. Moreover,on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart all got to this flower.

Aroma came to pick it up and presented it to Grandma Merchant. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come. In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Patience out. Moreover, on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart were intrigued by this flower.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:05, 30 May 2022 (UTC)

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

忽然听说贾母要来，便去换了一件狐腋箭袖，罩一件玄狐腿外褂，出来迎接贾母。匆匆穿换，未将”通灵宝玉“挂上。及至后来贾母去了，仍旧换衣。袭人见宝玉脖子上没有挂着，便问：“那块玉呢？”宝玉道：“才刚忙乱换衣，摘下来放在炕桌上，我没有带。”袭人回看桌上，并没有玉，便向各处找寻，踪影全无，吓得袭人满身冷汗。宝玉道：“不用着急，少不得在屋里的。问他们就知道了。”袭人当作麝月等藏起吓他顽，便向麝月等笑着说道：“小蹄子们！顽呢，到底有个顽法。把这件东西藏在那里了？别真弄丢了，那可就大家活不成了。”

Suddenly Precious Jade heard that Grandma Merchant was coming. He went to change a Jianxiu(a kind of clothes with tight sleeves) made of fox's armpit hair and put on a garment made of the hair from black fox's legs, then he went out to welcome Grandma Merchant. He was in such a hurry to change his clothes that he forgot to wear his jade pendant of "Tong Ling Bao Yu". When Grandma Merchant left and Precious Jade went to change clothes, Aroma found that and asked him, "Where is that jade pendant?" Precious Jade answered, "I was hurrying to change my clothes. And I didn't wear it since I took it off and put it on the table." Aroma then found that the jade pendant was not on the table and looked around the room. The jade pendant was still missing, which scared Aroma to be in cold sweat. Precious Jade said, "Don't be anxious, it must stay somewhere in the room. You can ask the others." Aroma thought that it was Dusk Moon and other maids who hid the jade pendant to play tricks on her. She said to them, laughing, "You stupid girls! Are you playing the treasure haunting game? Where do you hide the jade pendant? If you really lose it, we all will be punished!"

Suddenly Precious Jade heard that Grandma Merchant was coming. He went to change a Jianxiu(a kind of clothes with tight sleeves) made of fox's armpit hair and put on a garment made of the hair from black fox's legs, then he went out to welcome Grandma Merchant. He was in such a hurry to change his clothes that he forgot to wear his jade pendant of "Tong Ling Bao Yu". When Grandma Merchant left and Precious Jade went to change clothes, Aroma found that and asked him, "Where is that jade pendant?" Precious Jade answered, "I was hurrying to change my clothes. And I didn't wear it since I took it off and put it on the table." Aroma then found that the jade pendant was not on the table and looked around the room. The jade pendant was still missing, which scared Aroma to be in cold sweat. Precious Jade said, "Don't be anxious, it must stay somewhere in the room. You can ask the others." Aroma thought that it was Dusk Moon and other maids who hid the jade pendant to play tricks on her. She said to them, laughing, "You stupid girls! Are you playing the treasure haunting game? Where do you hide the jade pendant? If you really lose it, we all will be punished!"--[[User:Zheng Dongqin|Zheng Dongqin]] ([[User talk:Zheng Dongqin|talk]]) 08:38, 2 June 2022 (UTC)

==英语笔译郑冬琴 Zheng Dongqin 202170081610==

麝月等都正色道：“这是那里的话？顽是顽，笑是笑，这个事非同儿戏，你可别混说！你自己昏了心了，想想罢，想想搁在那里了？这会子又混赖人了。”袭人见他这般光景，不像是顽话，便着急道：“皇天菩萨，小祖宗！到底你摆在那里去了？”宝玉道：“我记得明明放在炕桌上的，你们到底找啊。”袭人麝月秋纹等也不敢叫人知道，大家偷偷儿的各处搜寻。闹了大半天，毫无影响，甚至翻箱倒笼，实在没处去找，便疑到方才这些人进来，不知谁捡了去了。袭人说道：“进来的，谁不知道这玉是性命是的东西呢？谁敢捡了去呢！你们好歹先别声张，快到各处问去。“What are you talking about?” they answered seriously. “Joking is all very well, but this is no joking matter. Don’t talk nonsense. You must be crazy! Better think back to where you put it instead of accusing us.”“Heavens!” cried Aroma anxiously, seeing them so much in earnest. “Where exactly did you put it, Master Precious Jade Merchant?”“I remember quite clearly putting it on that table,” he assured her. “Make a good search for it.”Not daring to let outsiders know, Aroma, Musk Deer Month, Autumn Vein and the other girls quietly searched the whole place. They hunted around for hours, even turning out cases and crates — but all in vain. When the jade was nowhere to be found, they wondered if one of their visitors that day could have taken it.But Aroma said, “All of them know how precious this jade is. Who’d dare take it? You mustn’t, for goodness’ sake, let word of this get out, but go and make inquiries at different households.

==英语笔译钟青 Zhong Qing 202170081611==

若有姐妹们捡着吓我们顽呢，你们给他磕头，要了回来；若是小丫头偷了去，问出来，也不回上头，不论把什么送给他换了出来，都使得的。这可不是小事，真要丢了这个，比丢了宝二爷的还利害呢。”麝月秋纹刚要往外走，袭人又赶出来嘱咐道：“头里在这里吃饭的倒别先问去。找不成，再惹出些风波来，更不好了。”麝月等依言，分头各处追问。人人不晓，个个惊疑。麝月等回来，俱目瞪口呆，面面相窥，宝玉也吓怔了，袭人急的只是干哭。找是没处找，回又不敢回：怡红院里的人吓得个个像木雕泥塑一般。大家正在发呆，只见各处知道的都来了。

==英语笔译周皓熙 Zhou Haoxi 202170081612==

探春叫把园门关上，先命个老婆子带着两个丫头，再往各处去寻去；一面又叫告诉众人：“若谁找出来，重重的赏银。”大家头宗要脱干系，二宗听见重赏，不顾命的混找了一遍，甚至于茅厮里都找到。谁知那块玉竟像绣花针儿一般，找了一天，总无影响。李纨急了，说：“这件事不是顽的，我要说句无礼的话了。”众人道：“什么呢？”李纨道：“事情到了这里，也顾不得了。现在园里，除了宝玉都是女人。要求各位姐姐、妹妹、姑娘都要叫跟来的丫头脱了衣服，大家搜一搜。若没有，再叫丫头们去搜那些老婆子并粗使的丫头。”

Seeing-Spring asked servants to close the yard gate. She then asked an old female servant to bring two girl servants to search around. At the same time, she told the rest, "A bonus for anyone who find it." Everyone wanted to prove their innocence and also wanted the bonus. Therefore, all were searching for the jade. Even the toilets were searched. However, it was seen nowhere after one day. Silk Plum was worried, saying, "It is no joke. I am going to be rude." Everyone was confused. She continued, "As for now, I think there is no other options. Now, except Precious Jade, everyone in the yard is female. So I beg every one of you to take off your clothes and let's search it again. If still no result, then I'll ask girl servants to search the old lady servants and manual servants."

Seeing-Spring asked servants to close the yard gate. She then asked an old female servant to bring two maids to search around. At the same time, she told the others, "A bonus for anyone who find it." Everyone wanted to prove their innocence and also wanted the bonus. Therefore, all were searching for the jade. Even the toilets were searched. However, it was seen nowhere after one day. Silk Plum was worried, saying, "It is no joke. I am going to say something rude." Everyone was confused. She continued, "As for now, I think there is no other options. Now, except Precious Jade, everyone in the yard is female. So I beg every one of you to take off your clothes and let's search it again. If still no result, then I'll ask girl servants to search the old lady servants and manual servants."--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 15:14, 31 May 2022 (UTC)

==英语笔译周哲 Zhou Zhe 202170081613==

大家说道：“这话也说的有理。现在人多手乱，鱼龙混杂，到是这么一来，你们也洗洗清。”探春独不言语。那些丫头们也都愿意洗净自己。先是平儿起。平儿说道：“打我先搜起。”于是各人自己解怀。李纨一气儿混搜。探春嗔着李纨道：“大嫂子，你也学那起不成材料的样子来了。那个人既偷了去还肯藏在身上？况且这件东西，在家里是宝，到了外头不知道的是废物，偷他做什么？我想来必是有人使促狭。”众人听说，又见环儿不在这里，昨儿是他满屋里乱跑，都疑到他身上，只是不肯说出来。
"That's an idea, "they agreed." With such a crowd of us here we're a mixed lot, and this would be a way to clear ourselves."
Only Seeking Spring made no comment.
As the maids also wanted to clear themselves of suspicion, Pinger volunteered to be the first to be searched. Then the others stripped too, and Li Wan searched them in turn.
"Sister-in-law!?"snapped Seeking Spring. "Where did you learn to behave in this scandalous way? If anyone stole it she wouldn't keep it on her, would she? Besides, this jade may be treasured here but to outsiders not in the know it's quite useless, so why should anyone steal it? I'm sure that someone is up to monkey tricks."
When they heard this and noticed Huan's absence— though earlier on he had been running all over the place— they suspected him but were unwilling to say so.

"That's an idea, "they agreed." With such a crowd of us here we're a mixed lot, and this would be a way to clear ourselves."
Only Seeking Spring made no comment.
As the maids also wanted to clear themselves of suspicion, Pinger volunteered to be the first to be searched. Then the others stripped too, and Li Wan searched them in turn.
"Sister-in-law!?"snapped Seeking Spring. "Where did you learn to behave in this scandalous way? If anyone stole it she wouldn't keep it on her, would she? Besides, this jade may be treasured here but to outsiders not in the know it's quite useless, so why should anyone steal it? I'm sure that someone is up to monkey tricks."
When they heard this and noticed Huan's absence— though earlier on he had been running all over the place— they suspected him but were unwilling to say so.--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 04:54, 31 May 2022 (UTC)

==英语笔译朱丽娟 Zhu Lijuan 202170081614==

探春又道：“使促狭的只有环儿。你们叫个人去悄悄的叫了他来，背地里哄着他，叫他拿出来，然后吓着他，叫他不要声张。这就完了。”大家点头称是。李纨便向平儿道：“这件事还是得你去才弄得明白。”平儿答应，就赶着去了。不多时，同了环儿来了。众人假意装出没事的样子，叫人沏了碗茶，搁在里间屋里。众人故意搭赸走开，原叫平儿哄他。平儿便笑着向环儿道：“你二哥哥的玉丢了，你瞧见了没有？”贾环便急得紫涨了脸，瞪着眼，说道：“人家丢了东西，你怎么又叫我来查问疑我，我是犯过案的贼么？”
"Huan's the only one who'd play such a trick," Seeking Spring continued. "Send somebody to fetch him quietly and persuade him to return it; then give him a scare to make him keep his mouth shut, and that will be that."
The others nodded approval.
Silk Plum told Patience, "You're the only one who can get the truth out of him.”
Patience agreed to try and hurried off, coming back before long with Ring Merchant. The rest pretended that nothing was amiss and told maids to serve him tea in the inner room. Then they excused themselves, leaving him to Patience.
“Your Precious Jade has lost his jade, she told him with a smile. "Have you seen it?"
Ring Merchant flushed scarlet and glared.
"When he loses something, why suspect me?" he protested. "Am I aconvicted thief?"

"Ring's the only one who'd play such a trick,"Seeking Spring continued. "Send somebody to fetch him quietly and persuade him to return it; then give him a scare to make him keep his mouth shut,and that will be that." The others nodded approval. Silk Plum told Patience,"You're the only one who can get the truth out of him."
Patience agreed to try and hurried off,coming back before long with Ring Merchant. The rest pretended that nothing was amiss and told maids to serve him tea in the inner room. Then they excused themselves,leaving him to Patience. "Your brother has lost his jade,she told him with a smile. "Have you seen it?"Ring Merchant flushed scarlet and glared. "When he loses something, why suspect me?"he protested. "Am I a convicted thief?"--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 13:30, 31 May 2022 (UTC)

==英语口译段小蝶 Duan Xiaodie 202170081615==

平儿见这样子，到不敢再问，便又陪笑道：“不是这么说。怕三爷要拿了去吓他们，所以白问问瞧见了没有，好叫他们找。”贾环道：“他的玉在他身上，看见不看见该问他，怎么问我？捧着他的人多着咧！得了什么不来问我，丢了东西就来问我！”说着，起身就走。众人不好拦他。这里宝玉倒急了，说道：“都是这劳什子闹事！我也不要他了，你们也不用闹了。环儿一去，必是嚷得满院里都知道了，这可不是闹事了么？”袭人等急得又哭道：“小祖宗，你看这玉丢了没要紧；若是上头知道了，我们这些人就要粉身碎骨了！”说着，便嚎啕大哭起来。
She explained with a smile.“I thought you might have taken it to scare them; that's why I simply asked if you'd seen it or not to help them find it." "He was the one wearing the jade so he's the one you should ask instead of me. You all make so much of him! When there's something good going,you don't ask me to share it; but when anythings lost,I'm the one you ask about it!" He got up and marched out and they could not stop him. "All this trouble's due to that silly thing! " burst out Precious Jade. "I don't want it,so you needn't make such a fuss. When Ring gets back,he's bound to tell everyone and raise a fearful rumpus." Weeping in desperation,Aroma said,"You may not care that the jade's lost,Little Ancestor,but if this comes to the mistresses'ears,it'll be the death of us!" She broke down and sobbed.
She explained with a smile.“I thought you might have taken it to scare them; that's why I simply asked if you'd seen it or not to help them find it." "He was the one wearing the jade so he's the one you should ask instead of me. You all make so much of him! When there's something good going,you don't ask me to share it; but when anythings lost,I'm the one you ask about it!" He got up and marched out and they could not stop him. "All this trouble's due to that silly thing! " burst out Precious Jade. "I don't want it,so you needn't make such a fuss. When Ring gets back,he's bound to tell everyone and raise a fearful rumpus." Weeping in desperation,Aroma said,"You may not care that the jade's lost,Little Ancestor,but if this comes to the mistresses'ears,it'll be the death of us!" She broke down and sobbed.--[[User:Fang Chuhan6|Fang Chuhan6]] ([[User talk:Fang Chuhan6|talk]]) 03:06, 2 June 2022 (UTC)

==英语口译方楚晗 Fang Chuhan 202170081616==

众人更加伤感，明知此事掩饰不来，只得要商议定了话，回来好回贾母诸人。宝玉道：“你们竟也不用商议，硬说我砸了就完了。”平儿道：“我的爷，好轻巧话儿！上头要问为什么砸的呢？他们也是个死啊！倘或要起砸破的碴儿来，那又怎么样呢？”宝玉道：“不然，便说我前日出门丢了。”众人一想，这句话倒还混得过去，但只这两天又没上学，又没往别处去。宝玉道：“怎么没有？大前儿还到南安王府里听戏去了呢。便说那日丢的。”探春道：“那也不妥。既是前儿丢的，为什么当日不来回。”

It soon became clear to them all that things could not be hushed up for much longer. They would have to agree on a story to tell Grandmother Jia and the other ladies. ‘That’s easy,’ said Bao-yu. ‘Just tell them I smashed it myself.’‘No no! That’s no good!’ said Patience. ‘Can’t you see?They’ll want to know why you smashed it, and then things will look just as black for Aroma and the others. And besides, what if they want to see the pieces?’ ‘Well then, say I lost it on a trip to town.’ There was a moment’s silence as they all pondered this suggestion. ‘We might possibly have got away with that,’ said someone at last. ‘But during the past few days you haven’t been to school, and you haven’t been out anywhere either.’‘Yes I have,’ Bao-yu corrected them. ‘A few days ago I went to the Earl of Lin-an’s to watch the plays. You can say I lost it then.’‘No, that won’t do,’ said Tan-chun. ‘If you lost it as long ago as that, they’ll want to know why it hasn’t been reported till now.’

It soon became clear to them all that things could not be hushed up for much longer. They would have to agree on a story to tell Grandmother Jia and the other ladies. ‘That’s easy,’ said Bao-yu. ‘Just tell them I smashed it myself.’‘No no! That doesn't work!’ said Patience. ‘Can’t you understand? They’ll want to know why you smashed it, and then things will look just as black for Aroma and the others. And besides, what if they want to see the pieces?’‘Well then, say I lost it on a trip to town.’ There was a moment’s silence as they all pondered this suggestion. ‘We might possibly have got away with that,’ said someone at last. ‘But during the past few days you haven’t been to school, and you haven’t been out anywhere either.’‘Yes I have,’ Bao-yu corrected them. ‘A few days ago I went to the Earl of Lin-an’s to watch the plays. You can say I lost it then.’‘No, that won’t do,’ said Tan-chun. ‘If you lost it as long ago as that, they’ll want to know why it hasn’t been reported till now.’
--[[User:Hu Wenwen|Hu Wenwen]] ([[User talk:Hu Wenwen|talk]]) 14:40, 1 June 2022 (UTC)

==英语口译胡雯雯 Hu Wenwen 202170081617==

众人正在胡思乱想要装点撒谎，只听得赵姨娘的声儿，哭着喊着走来，说：“你们丢了东西，自己不找，怎么叫人背地里拷问环儿！我把环儿带了来，索性交给你们这一起洑上水的。该杀该剐，随你们罢。”说着，将环儿一推说：“你是个贼，快快的招罢！”气得环儿也哭喊起来。李纨正要劝解，丫头来说：“太太来了。”袭人等此时无地可容。宝玉等赶忙出来迎接。赵姨娘暂且也不敢作声，跟了出来。王夫人见众人都有惊惶之色，才信方才听见的话，便道：“那块玉真丢了么？”众人都不敢作声。

They were still busy discussing the relative merits of these various fictions when suddenly they heard the voice of Aunt Zhao, cursing and wailing her way towards them.‘If you lose something, why can’t you look for it yourselves, instead of sneaking up and blaming my boy? Well, here he is! Take him! Sacrifice him if you think it will do you any good! Kill him! Hack him to pieces! Do what you like with him!’ She propelled Jia Huan into the room, c’rying:‘Thief! Hurry up and confess your crime!’This brought loud and angry protestations from Huan. Li Wan was just bracing herself to intervene and make the peace when a maid came rushing in and announced:‘Her Ladyship is here!’Aroma and the maids could see that a confrontation was now inevitable. Bao-yu and the girls went out at once to receive Lady Wang. Aunt Zhao’s wrath subsided for a moment and she followed them out. From the startled look on their faces Lady Wang could see that what she had heard must be true.‘Is it really lost?’ she cried. No one dared reply.

They were still busy discussing the relative merits of these various fictions when suddenly they heard the voice of Aunt
Zhao, cursing and wailing her way towards them. ‘If you lose something, why can’t you look for it
yourselves, instead of sneaking up and blaming my boy? Well, here he is! Take him! Sacrifice him if you think it will do you any good! Kill him! Hack him to pieces! Do what you like with him!’ She propelled Jia Huan into the room, crying: ‘Thief! Hurry up and confess your crime!’ This brought loud and angry protestations from Huan. Silk Plum was just bracing herself to intervene and make the peace when a maid came rushing in and announced: ‘Her Ladyship is here!’
Aroma and the maids could see that a confrontation was now inevitable. Precious Jade and the girls went out at once to receive Lady Wang. Aunt Zhao’s wrath subsided for a moment and she followed them out. From the startled look on their faces Lady Wang could see that what she had heard must be true. ‘Is it really lost?’ she cried. No one dared reply.--[[User:Huang Tianqi|Huang Tianqi]] ([[User talk:Huang Tianqi|talk]]) 14:20, 1 June 2022 (UTC)

==英语口译黄天琪 Huang Tianqi 202170081618==

王夫人走进屋里坐下，便叫袭人，慌得袭人连忙跪下，含泪要禀。王夫人道：“你起来，快快叫人细细找去，一忙乱倒不好了。”袭人哽咽难言。宝玉生恐袭人直告诉出来，便说道：“太太，这事不与袭人相干，是我前日到南安王府那里听戏在路上丢了。”王夫人道：“为什么那日不找？”宝玉道：“我怕他们知道，没有告诉他们。我叫焙茗等在外头各处找过的。”王夫人道：“胡说！如今脱换衣服，不是袭人他们伏侍的么？大凡哥儿出门回来，手巾荷包短了，还要问个明白，何况这块玉不见了，便不问的么？”宝玉无言可答。

Lady Wang walked in, sat down and called Aroma forward. Aroma fell trembling to her knees. In a choked voice she murmured ‘Yes.’ ‘Well, get up!’ said Lady Wang. ‘We must have a thorough search made. Come on, this helpless attitude will never do.’ Aroma was sobbing and could not say a word. Precious Jade finally spoke up, fearful that she might blurt out the truth. ‘Mother, this has nothing to do with Aroma. I lost it the other day on my way back from seeing the plays at the Earl of Lin-an’s.’ ‘Then why didn’t you look for it at the time?’ ‘I didn’t want anyone to know. I just told Tealeaf to look for it everywhere along the street.’ ‘Nonsense! You know perfectly well that Aroma or one of your other maids would have noticed. That’s their job. They are always with you when you change. Whenever you come in from a party or any kind of excursion, if one of your handkerchiefs is missing, or a little purse, they’re bound to ask you where it’s gone do you really think that they would allow something as irreplaceable as your jade to disappear, and not say a word?’ Precious Jade was stumped for an answer.

Lady Wang walked in, sat down and called Aroma forward. Aroma fell trembling to her knees. In a choked voice she murmured ‘Yes.’ ‘Well, get up!’ said Lady Wang. ‘We must have a thorough search made. Come on, this helpless attitude will never do.’ Aroma was sobbing and could not say a word. Precious Jade finally spoke up, fearful that she might blurt out the truth. ‘Mother, this has nothing to do with Aroma. I lost it the other day on my way back from seeing the plays at the Earl of Lin-an’s.’ ‘Then why didn’t you look for it at the time?’ ‘I didn’t want anyone to know. I just told Tealeaf to look for it everywhere along the street.’ ‘Nonsense! You know perfectly well that Aroma or one of your other maids would have noticed. That’s their job. They are always with you when you change. Whenever you come in from a party or any kind of excursion, if one of your handkerchiefs is missing, or a little purse, they’re bound to ask you where it’s gone do you really think that they would allow something as irreplaceable as your jade to disappear, and not say a word?’ Precious Jade was stumped for an answer.--[[User:Li Dan|Li Dan]] ([[User talk:Li Dan|talk]]) 02:38, 2 June 2022 (UTC)

==英语口译李丹 Li Dan 202170081620==

赵姨娘听见，便得意了，忙接过口道：“外头丢了东西，也赖环儿……”话未说完，被王夫人喝道：“这里说这个，你且说那些没要紧的话！”赵姨娘便不敢言语了。还是李纨探春从实的告诉了王夫人一遍。王夫人也急得泪如雨下，索性要回明贾母，去问邢夫人那边跟来的这些人去。凤姐病中，也听见宝玉失玉，知道王夫人过来，料躲不住，便扶了丰儿来到园里。正值王夫人起身要走，凤姐娇怯怯的说：“请太太安。”宝玉等过来问了凤姐好。王夫人因说道：“你也听见了么？这可不是奇事吗？刚才眼错不见就丢了，再找不着。

Aunt Zhao, who was gloating over his discomfiture, hastened to put in: “If you're so sure you lost it outside, why try to pin the blame on Huan?” “That's enough from you!” said Lady Wang sharply. “You keep out of this!” It was Li Wan Tanchun who told Mrs. Wang the truth. Mrs. Wang was so worried that she burst into tears that she simply asked Mrs. Xing to go back to the Ming Dynasty and ask these people who Mrs. Xing followed. The news had meanwhile reached Xi-feng on her sickbed. #2 When she heard that Lady Wang had arrived at Green Delights she felt obliged to put in an appearance and, leaning on Felicity's arm, made her way towards the Garden. She arrived just as Lady Wang was about to leave. “Good evening, Aunt.” Xi-feng's voice trembled slightly as she spoke. Bao-yu and the others came up to greet her. “So you've heard the news too!” said Lady Wang to Xifeng. “ “Isn't it odd? It vanished just like that, and can't be found anywhere.”

Revision:
When Aunt Zhao heard this, she was very pleased. She quickly took it up and said, "I have lost something outside, but I have to rely on huan'er..." before she finished, Mrs. Wang shouted, "let's talk about this here. Let's talk about what doesn't matter!" Aunt Zhao dared not speak. It was Li Wan Tanchun who told Mrs. Wang the truth. Mrs. Wang was so worried that she burst into tears that she simply asked Mrs. Xing to go back to the Ming Dynasty and ask these people who Mrs. Xing followed. When Sister Feng was ill, she also heard that Baoyu had lost her jade. Knowing that Mrs. Wang was coming, she could not hide, so she helped feng'er to the garden. Just as Mrs. Wang got up to leave, Sister Feng said timidly, "please have a nice day, madam." Baoyu came to ask Sister Feng how she was. Mrs. Wang said, "did you hear that, too? Isn't this a miracle? I lost my eye just now and couldn't find it again.--[[User:Li Lifei|Li Lifei]] ([[User talk:Li Lifei|talk]]) 02:26, 2 June 2022 (UTC)

==英语口译李立飞 Li Lifei 202170081621==

你去想想：打老太太那边丫头起，至你们平儿，谁的手不稳，谁的心促狭；我要回了老太太，认真的查出来才好。不然，是断了宝玉的命根子了。”凤姐回道：“咱们家人多手杂，自古说的，‘知人知面不知心’，那里保得住谁是好的？但是一吵嚷，已经都知道了，偷玉的人，若叫太太查出来，明知是死无葬身之地，他着了急，反要毁坏了灭口，那时可怎么处呢？据我的糊涂想头，只说宝玉本不爱他，撂丢了，也没有什么要紧，只要大家严密些，别叫老太太老爷知道；这么说了，暗暗的派人去各处察访，哄骗出来，那时玉也可得，罪名也好定：不知太太心里怎么样？”

Think about it: from hitting the girl on the old lady's side, to your level, whose hand is unstable and whose heart is narrow; I have to go back to the old lady and find out carefully. Otherwise, it will be the lifeblood of Baoyu. " Sister Feng replied: "Our family has a lot of hands. It has been said since ancient times that 'knowing people knows their faces but not their hearts'. Who can be protected there? But we all know when we make a noise. If the man who stole the jade asks his wife to find out that he knows there is no place to bury, he is in a hurry and wants to destroy his mouth. According to my confused thinking, it doesn't matter if Baoyu didn't love him and lost him. As long as we are more strict, don't call him the old lady The master knows; Having said that, he secretly sent people to investigate everywhere and cajoled them out. At that time, Yu could also get the blame, and the crime could be decided: I don't know what's in his wife's heart? "

==英语口译莫雨婷 Mo Yuting 202170081622==

王夫人迟了半日，才说道：“你这话虽也有理，但只是老爷跟前怎么瞒的过呢？”便叫环儿过来道：“你二哥哥的玉丢了，白问了你一句，怎么你就乱嚷？若是嚷破了，人家把那个毁坏了，我看你活得活不得！”贾环吓得哭道：“我再不敢嚷了。”赵姨娘听了，那里还敢言语。王夫人便吩咐众人道：“想来自然有没找到的地方儿。好端端的在家里的，还怕他飞到那里去不成？只是不许声张。限袭人三天内给我找出来。要是三天找不着，只怕也瞒不住，大家那就不用过安静日子了。”说着，便叫凤姐儿跟到邢夫人那边，商议踩缉不题。

After a long pause Lady Wang replied:"It’s all very well, but will we ever succeed in keeping this from Sir Zheng?" She called Jia Huan to her. "It was very silly of you to go shouting your head off about Bao-yu’s jade, just because they asked you about it. If the thief has heard and destroys the jade, you will pay for it with your life!" "I promise never to mention it again!" wailed Jia Huan in terror. This time Aunt Zhao held her tongue. "There must be some places left where you haven’t looked," Lady Wang continued, addressing the assembled maids. "It must be somewhere here. It’s hardly going to fly away, is it? But when you look, be as quiet as possible. Aroma, I give you three days to find it. If we still haven’t found it by then, we shan’t be able to keep it from Her Old Ladyship and Sir Zheng any longer. And everyone knows what that will mean!" Bidding Xi-feng accompany her, Lady Wang set off for Lady Xing’s apartment, for further consultations on how to apprehend the thief.

After a long pause Lady Wang replied:"It’s all very well, but will we ever succeed in keeping this from Sir Zheng?" She called Jia Huan to her. "It was very silly of you to go shouting your head off about Bao-yu’s jade, just because they asked you about it. If the thief has heard and destroys the jade, you will pay for it with your life!" "I promise never to mention it again!" wailed Jia Huan in terror. This time Aunt Zhao held her tongue. "There must be some places left where you haven’t looked," Lady Wang continued, addressing the assembled maids. "It must be somewhere here. It’s hardly going to fly away, is it? But when you look, be as quiet as possible. Aroma, I give you three days to find it. If we still haven’t found it by then, we shan’t be able to keep it from Her Old Ladyship and Sir Zheng any longer. And everyone knows what that will mean!" Bidding Xi-feng accompany her, Lady Wang set off for Lady Xing’s apartment, for further consultations on how to apprehend the thief.--[[User:Peng Huixuan|Peng Huixuan]] ([[User talk:Peng Huixuan|talk]]) 08:43, 1 June 2022 (UTC)

==英语口译彭慧璇 Peng Huixuan 202170081623==

这里李纨等纷纷议论，便传唤看园子的一干人来，叫把园门锁上，快传林之孝家的来，悄悄儿的告诉了他，叫他：“吩咐前后门上，三天之内，不论男女下人，从里头可以走动，要出时，一概去不许放出。只说里头丢了东西，待这件东西有了着落，然后放人出来。”林之孝家的答应了“是”，因说：“前儿奴才家里也丢了一件不要紧的东西，林之孝必要明白，上街去找了一个测字的。那人叫做什么刘铁嘴，测了一个字，说的狠明白，回来依旧一找，便找着了。”袭人听见，便央及林家的道：“好林奶奶！出去快求林大爷替我们问问去。”那林之孝家的答应着出去了。

Li Wan and the others continued to debate what to do. They sent for the various domestics in charge of the Garden and gave orders for the gates to be securely locked. Steward Lin’s wife was also summoned and given confidential instructions. ‘Tell the servants on both gates that absolutely no one is to be allowed out of the Garden for the next three days. We can allow freedom of movement within the Garden, but no one must leave. Say that something has been lost and that no one can go out until it’s found.’ ‘Yes, Mrs Zhu,’ said Lin’s wife. ‘Excuse me, ma’am,’ she went on, ‘but we lost something at home the other day - nothing of any value of course, but my husband was determined to find it, and he went and consulted one of those word-diviners that set themselves up at street corners. Iron Mouth Liu I think this one’s name was. His reading was very clear. My husband followed his instructions, and found the missing item straight away.’ When Aroma heard this she begged her to help them. ‘Oh, Mrs Lin! Please go and ask your husband to consult this man for us!’ ‘Indeed I will. Straight away. Lin’s wife bustled off. Xing Xiu-yan now had a suggestion to make.

Li Wan and the others continued to debate what to do. They sent for the various domestics in charge of the Garden and gave orders for the gates to be securely locked. Steward Lin’s wife was also summoned and given confidential instructions. ‘Tell the servants on both gates that absolutely no one is to be allowed out of the Garden for the next three days. We can allow freedom of movement within the Garden, but no one must leave. Say that something has been lost and that no one can go out until it’s found.’ ‘Yes, Mrs Zhu,’ said Lin’s wife. ‘Excuse me, ma’am,’ she went on, ‘but we lost something at home the other day - nothing of any value of course, but my husband was determined to find it, and he went and consulted one of those word-diviners that set themselves up at street corners. Iron Mouth Liu I think this one’s name was. His reading was very clear. My husband followed his instructions, and found the missing item straight away.’ When Aroma heard this she begged her to help them. ‘Oh, Mrs Lin! Please go and ask your husband to consult this man for us!’ ‘Indeed I will. Straight away. Lin’s wife bustled off. Xing Xiu-yan now had a suggestion to make.--[[User:Shi Youjie|Shi Youjie]] ([[User talk:Shi Youjie|talk]]) 08:45, 1 June 2022 (UTC)

==英语口译时友洁 Shi Youjie 202170081624==

邢岫烟道：“若说那外头测字打卦的，是不中用的。我在南边闻妙玉能扶乩，何不烦他问一问？况且我听见说，这块玉原有仙机，想来问得出来。”众人都咤异道：“咱们常见的，从没有听他说起。”麝月便忙问岫烟道：“想来别人求他是不肯的，好姑娘，我给姑娘磕个头，求姑娘就去，若问出来了，我一辈子总不忘你的恩！”说着，赶忙就要磕下头去，岫烟连忙拦住。黛玉等也都怂恿着岫烟速往栊翠庵去。一面林之孝家的进来说道：“姑娘们大喜！林之孝测了字回来，说这玉是丢不了的，将来横竖有人送还来的。”众人听了，也都半信半疑。惟有袭人麝月喜欢的了不得。
‘If you ask me, those word-diviners and fortune-tellers you find on street corners are all charlatans. But when I knew Adamantina, in the South, before she came to live here, I heard of her gift for the planchette. Why don’t we ask her to hold a séance for us? Didn’t .Bao-yu’s jade have a mysterious origin
anyway? It would surely lend itself to that sort of approach.’ The others seemed greatly surprised to hear this, and reflected that in all the time they had known her, Adamantma had never once mentioned such a gift. Musk earnestly beseeched Xiu-yan: ‘Oh, Miss! I don’t think she would agree to do it for
anyone but you! Please, please, will you ask her for us? I’ll kotow to you - if she finds the answer, I’ll be indebted to you for a lifetime!’She was about to perform a kotow, but Xiu-yan raised her from the ground. Dai-yu and the others added their entreaties to Musk’s, and Xiu-yan left with all speed for Green Bower Hermitage. No sooner had she gone, than Steward Lin’s wife returned from her mission. ‘Ladies!’ she announced with great jubilation. ‘I bring good news! My husband has been to see the man~ and he says the jade is sure to turn up. Someone will definitely bring it back.’ She had yet to convince her audience however - except for Aroma and Musk, who were ready to grasp at the slightest hope.

"If you ask me, those word-diviners and fortune-tellers you find on street corners are all charlatans. But when I knew Adamantina, in the South, before she came to live here, I heard of her gift for the planchette. Why don’t we ask her to hold a séance for us? Didn’t. Bao Yu’s jade has a mysterious origin
anyway? It would surely lend itself to that sort of approach." The others seemed greatly surprised to hear this, and reflected that in all the time they had known her, Adamantma had never once mentioned such a gift. Musk earnestly beseeched Xiu Yan: "Oh, Miss! I don’t think she would agree to do it for
anyone but you! Please, please, will you ask her for us? I’ll kotow to you - if she finds the answer, I’ll be indebted to you for a lifetime!" She was about to perform a kotow, but Xiu Yan raised her from the ground. Dai-yu and the others added their entreaties to Musk’s, and Xiu-yan left with all speed for Green Bower Hermitage. No sooner had she gone, than Steward Lin’s wife returned from her mission. "Ladies!" she announced with great jubilation. "I bring good news! My husband has been to see the man and he says the jade is sure to turn up. Someone will definitely bring it back." She had yet to convince her audience, however - except for Aroma and Musk, who were ready to grasp at the slightest hope.--[[User:Wu Jiahui|Wu Jiahui]] ([[User talk:Wu Jiahui|talk]]) 08:51, 1 June 2022 (UTC)

==英语口译伍佳惠 Wu Jiahui 202170081625==

探春便问：“测的是什么字？”林之孝家的道：“他的话多，奴才也学不上来，记得是拈了个赏人东西的‘赏’字。那刘铁嘴也不问，便说：‘丢了东西不是？’“李纨道：“这就算好。”林之孝家的道：“他还说：‘“赏”字上头一个“小”字，底下一个“口”字，这件东西，狠可嘴里放得，必是个珠子宝石。’”众人听了，夸赞道：“真是神仙！往下怎么说？”林之孝家的道：“他说：‘底下“贝”字拆开，不成一个“见”字，可不是“不见”了？’因上头拆了‘当’字，叫快到当铺里找去。‘“赏”字加一“人”字，可不是“偿”字？只要找着当铺就有人，有了人便赎了来，可不是偿还了吗。’”

“What character did he analyze?” Seeking-Spring Merchant asked. “He said a lot, but it is too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was Shang meaning ‘gift.’ Then, without asking any question, Iron Mouth Liu said, “You’ve lost something, I take it.” “A good guess!” Silk Plum exclaimed. Filial Piety Forest's Wife continued, “He said the upper part of the character is the xiao for ‘small’ with the Kou for ‘mouth’ below. Therefore, the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of Jian meaning ‘see’, so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn’, we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to Shang, it gives Chang meaning to ‘redeem’. So once we hit on the right pawn shop, we’ll find whoever pawned it and then we can redeem it.”

“What character did he analyze?” Seeking-Spring Merchant asked. “He said a whole lot, too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was shang meaning ‘gift.’ Then, without asking any questions, that Iron Mouth Liu said, ‘You’ve lost something, I take it. “A good guess!” exclaimed Silk Plum. Filial Piety Forest's Wife continued, “Then he said the upper part of the character is the xiao for ‘small’ with the kou for ‘mouth’ below; so the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of jian meaning ‘see,’ so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn,’ we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to shang, it gives chang meaning to ‘redeem.’ So once we hit on the right pawn¬shop, we’ll find whoever pawned it and then we can redeem it.”--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 10:12, 28 May 2022 (UTC)

==英语口译夏晶 Xia Jing 202170081626==

众人道：“既这么着，就先往左近找起。横竖几个当铺都找遍了，少不得就有了。咱们有了东西，再问人就容易了。”李纨道：“只要东西，那怕不问人都使得。林嫂子，烦你就把测字的话快去告诉二奶奶，回了太太，先叫太太放心。就叫二奶奶快派人查去。”林家的答应了便走。众人略安了一点儿神，呆呆的等岫烟回来。正呆等，只见跟宝玉的焙茗在门外招手儿，叫小丫头子快出来。那小丫头赶忙的出去了。焙茗便说道：“你快进去告诉我们二爷和里头太太、奶奶、姑娘们，天大喜事。”那小丫头子道：“你快说罢，怎么这么累赘？”

“In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”

Revision: “In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 03:18, 30 May 2022 (UTC)

==英语口译向师琦 Xiang Shiqi 202170081627==

焙茗笑着拍手道：“我告诉姑娘，姑娘进去回了，咱们两个人都得赏钱呢！你打量什么，宝二爷的那块玉呀，我得了准信来了。” 话说焙茗在门口和小丫头子说宝玉的玉有了，那小丫头急忙回来告诉宝玉。众人听了，都推着宝玉出去问他。众人在廊下听着。宝玉也觉放心，便走到门口，问道：“你那里得了？快拿来。”焙茗道：“拿是拿不来的，还得托人做保去呢。”宝玉道：“你快说是怎么得的，我好叫人取去。”焙茗道：“我在外头，知道林爷爷去测字，我就跟了去。我听见说在当铺里找，我没等他说完，便跑到几个当铺里去。我比给他们瞧，有一家便说‘有’。
Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page, and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked:“Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”“Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.

Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked: “Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.--[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 15:46, 30 May 2022 (UTC)

==英语口译向望 Xiang Wang 202170081628==

我说：‘给我罢。’那铺子里要票子。我说：‘当多少钱？’他说：‘三百钱的也有，五百钱的也有。前儿有一个人拿这么一块玉，当了三百钱去；今儿又有人也拿了一块玉，当了五百钱去。’”宝玉不等说完，便道：“你快拿三百五百钱去取了来，我们挑着看是不是。”里头袭人便啐道：“二爷不用理他！我小时候儿听见我哥哥常说，有些人卖那些小玉儿，没钱用，便去当。想来是家家当铺里有的。”众人正在听得咤异，被袭人一说，想了一想，倒大家笑起来，说：“快叫二爷进来罢，不用理那糊涂东西了。他说的那些玉，想来不是正经东西。”宝玉正笑着，只见岫烟来了。

When I asked for it, though, they wanted the pawn-ticket. ‘How much was it hocked for?’ I asked. They said, ‘We give from three hundred to five hundred cash. The other day someone brought in a jade like that and pawned it for three hundred. Today another man came with a piece and pawned it for five hundred.”’Baoyu cut him short with the order, “Go at once, taking money to redeem both; then we’ll see whether one is the right piece or not.”“Don’t listen to him, Master Bao!” scoffed Xiren from inside. “When I was small my brother often told me that hawkers of small pieces of jade pawn them when they need cash. Every single pawnshop must have some.”The others had been surprised by Beiming’s report. Now, thinking over Xiren’s comment, they laughed.“Tell Master Bao to come in,” they cried. “Pay no attention to that simpleton. The jade he’s talking about can’t be the right one.”Baoyu was laughing too when Xiuyan came back.

==英语口译徐舞 Xu Wu 202170081629==

原来岫烟走到栊翠庵，见了妙玉，不及闲话，便求妙玉扶乩。妙玉冷笑几声，说道：“我与姑娘来往，为的是姑娘不是势利场中的人。今日怎么听了那里的谣言，过来缠我？况且我并不晓得什么叫‘扶乩’。”说着，将要不理。岫烟懊悔此来：知他脾气是这么着的，“一时我已说出，不好白回去。”又不好与他质证他会扶乩的话，只得陪着笑将袭人等性命关系的话说了一遍。见妙玉略有活动，便起身拜了几拜。妙玉叹道：“何必为人作嫁？但是我进京以来，素无人知，今日你来破例，恐将来缠绕不休。”

==英语口译张静芝 Zhang Jingzhi 202170081630==

岫烟道：“我也一时不忍。知你必是慈悲的。便是将来他人求你，愿不愿在你，谁敢相强？”妙玉笑了一笑，叫道婆焚香，在箱子里找出沙盘乩架，书了符，命岫烟行礼祝告毕，起来同妙玉扶着乩。不多时，只见那仙乩疾书道：噫！来无迹，去无踪，青埂峰下倚古松。欲追寻，山万重，入我门来一笑逢。书毕，停了乩。岫烟便问：“请是何仙？”妙玉道：“请的是拐仙。”岫烟录了出来，请教妙玉解识。妙玉道：“这个可不能，连我也不懂。你快拿去，他们的聪明人多着哩。”岫烟只得回来。进入院中，各人都问：“怎么样了？”

==日语笔译曹梦然 Cao Mengran 202170081632==

岫烟不及细说，便将所录乩语递与李纨，众姊妹及宝玉争看，都解的是：“一时要找是找不着的，然而丢是丢不了的，不知几时不找便出来了。但是青埂峰不知在那里？”李纨道：“这是仙机隐语。咱们家里那里跑出青埂峰来？必是谁怕查出，撂在有松树的山子石底下，也未可定。独是‘入我门来’这句，到底是入谁的门呢？”黛玉道：“不知请的是谁？”岫烟道：“拐仙。”探春道：“若是仙家的门，便难入了。”袭人心里着忙，便捕风捉影的混找，没一块石底下不找到，只是没有。回到院中，宝玉也不问有无，只管傻笑。

Xiuyan went back, and as soon as she entered the courtyard the others all wanted to know how she had fared. Without giving them the details, she handed Silk Plum the oracle she had transcribed. The girls and Precious Jade crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking. “But where is this Blue Ridge Peak?” they asked. “That must be some divine riddle,” said Silk Plum. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?” Mascara Jade remarked, “I wonder whom she invoked.” “Saint Li the Cripple,” Xiuyan told her. “If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed seeking-spring. Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Precious Jade smiled foolishly instead of asking whether she had found it

Xiuyan went back, and as soon as she entered the courtyard the oth¬ers all wanted to know how she had fared. Without giving them the de¬tails, she handed Li Wan the oracle she had transcribed. The girls and Baoyu crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking.
“But where is this Blue Ridge Peak?” they asked.
“That must be some divine riddle,” said Li Wan. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?”
Daiyu remarked, “I wonder whom she invoked.”
“Saint Li the Cripple,” Xiuyan told her.
“If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed Tanchun.
Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Baoyu smiled foolishly instead of asking whether she had found it.--[[User:Hu Mengqi|Hu Mengqi]] ([[User talk:Hu Mengqi|talk]]) 12:37, 29 May 2022 (UTC)

==日语笔译胡梦琪 Hu Mengqi 202170081633==

麝月着急道：“小祖宗！你到底是那里丢的？说明了，我们就是受罪，也在明处啊。”宝玉笑道：“我说外头丢的，你们又不依。你如今问我，我知道么？”李纨探春道：“今儿从早起闹起，已到三更来的天了。你瞧林妹妹已经掌不住，各自去了。我们也该歇歇儿了，明儿再闹罢。”说着，大家散去。宝玉即便睡下。可怜袭人等哭一回，想一回，一夜无眠，暂且不题。且说黛玉先自回去，想起“金”“石”的旧话来，反自喜欢；心里说道：“和尚道士的话真个信不得。果真‘金’‘玉’有缘，宝玉如何能把这玉丢了呢？或者因我之事，拆散他们的‘金玉’，也未可知。”

“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin’s already left — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night, unable to sleep.
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.

“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin was already leave — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night and unable to sleep.
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 14:38, 29 May 2022 (UTC)

==日语笔译张白鹭 Zhang Bailu 202170081634==

想了半天，更觉安心，把这一天的劳乏，竟不理会，重新倒看起书来。紫鹃倒觉身倦，连催黛玉睡下。黛玉虽躺下，又想到海棠花上，说“这块玉原是胎里带来的，非比寻常之物，来去自有关系。若是这花主好事呢，不该失了这玉呀。看来此花开的不祥，莫非他有不吉之事？”不觉又伤起心来。又转想到喜事上头，此花又似应开，此玉又似应失；如此一悲一喜，直想到五更方睡着。次日，王夫人等早派人到当铺里去查问，凤姐暗中设法找寻。一连闹了几天，总无下落。还喜贾母贾政未知。袭人等每日提心吊胆。宝玉也好几天不上学，只是怔怔的，不言不语，没心没绪的。

Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.

Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.--[[User:Liu Anli|Liu Anli]] ([[User talk:Liu Anli|talk]]) 14:35, 29 May 2022 (UTC)

==朝鲜语笔译刘安莉 Liu Anli 202170081635==

王夫人只知他因失玉而起，也不大着意。那日正在纳闷，忽见贾琏进来请安，嘻嘻的笑道：“今日听得军机贾雨村打发人来告诉二老爷，说：‘舅太爷升了内阁大学士，奉旨来京，已定明年正月二十日宣麻，有三百里的文书去了。’想舅太爷昼夜趱行，半个多月就要到了。侄儿特来回太太知道。”王夫人听说，便欢喜非常。正想娘家人少，薛姨妈家又衰败了；兄弟又在外任，照应不着。今日忽听兄弟拜相回京，王家荣耀，将来宝玉都有倚靠。便把失玉的心又略放开些了，天天专望兄弟来京。忽一天，贾政进来，满脸泪痕，喘吁吁的说道：

His mother did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam.
Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now as Grand Secretary would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival.
Then one day Master Merchant burst in, tears streaming down his cheeks.

Lady King did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam. Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now and it would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival. Then one day Master Merchant burst in, tears streaming down his cheeks.--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 03:18, 30 May 2022 (UTC)

<nowiki></nowiki>==朝鲜语笔译王思佳 Wang Sijia 202170081636==

“你快去禀知老太太，即刻进宫！不用多人的，是你伏侍进去。因娘娘忽得暴病，现在太监在外立等。他说：‘太医院已经奏明痰厥，不能医治。’”王夫人听说，便大哭起来。贾政道：“这不是哭的时候，快快去请老太太。说得宽缓些，不要吓坏了老人家。”贾政说着，出来吩咐家人伺候。王夫人收了泪，去请贾母，只说元妃有病，进去请安。贾母念佛道：“怎么又病了？前番吓的我了不得，后来又打听错了。这回情愿再错了也罢。”王夫人一面回答，一面催鸳鸯等开箱取衣饰穿戴起来。王夫人赶着回到自己房中也穿戴好了，过来伺候。一时出厅，上轿进宫不题。

"Go to the old lady and enter the palace at once!" It doesn't take many people, it's you who ambush in. Because Princess Merchant suddenly fell ill violently, the eunuch is now waiting outside. He said: 'The hospital has made it clear that it cannot be cured.' When Lady King heard this, she burst into tears. Master Merchant said, "This is not the time to cry, go and ask the old lady quickly." Speak more gently, don't frighten the old man. Master Merchant said, and came out to order his family to serve. Lady King collected her tears and went to ask Grandma Merchant, only to say that Princess Merchant was ill and went in to ask for peace. Grandma Merchant chanted the Buddha, "Why are you sick again?" I was terrified of it before, and then I was wrong. This time I'm willing to be wrong. Lady King replied while urging mandarin ducks to open the box and take clothes and put them on. Lady King hurried back to her room and dressed herself, and came to serve. When I went out of the hall for a while, I went to the palace and entered the palace without a title.

"Go to the old lady and enter the palace at once!" It doesn't take many people, it's you who ambush in. Because Princess Merchant suddenly fell ill violently, the eunuch is now waiting outside. He said: 'The Taiyuan hospital has made it clear that it cannot be cured.' When Lady King heard this, she burst into tears. Master Merchant said, "This is not the time to cry, go and ask the old lady quickly." Speak more gently, don't frighten the old man. Master Merchant said, and came out to order his family to serve. Lady King collected her tears and went to ask Grandma Merchant, only to say that Princess Merchant was ill and went in to ask for peace. Grandma Merchant chanted the Buddha, "Why are you sick again?" I was terrified of it before, and then I was wrong. This time I'm willing to be wrong. Lady King replied while urging mandarin ducks to open the box and take clothes and put them on. Lady King hurried back to her room and dressed herself, and came to serve. When I went out of the hall for a while, I went to the palace and entered the palace without a title--[[User:Xu Gai|Xu Gai]] ([[User talk:Xu Gai|talk]]) 12:22, 31 May 2022 (UTC)

==朝鲜语笔译徐盖 Xu Gai 202170081638==

且说元春自选了凤藻宫后，圣眷隆重，身体发福，未免举动费力。每日起居劳乏，时发痰疾。因前日侍宴回宫，偶沾寒气，勾起旧病。不料此回甚属利害，竟至痰气壅塞，四肢厥冷。一面奏明，即召太医调治。岂知汤药不进，连用通关之剂，并不见效。内官忧虑，奏请预办后事，所以传旨命贾氏椒房进见。贾母王夫人遵旨进宫，见元妃痰塞口涎，不能言语。见了贾母，只有悲泣之状，却少眼泪。贾母进前请安，奏些宽慰的话。少时贾政等职名递进，宫嫔传奏，元妃目不能顾，渐渐脸色改变。内宫太监即要奏闻，恐派各妃看视，椒房姻戚未便久羁，请在外宫伺候。

Let's say that since the election of the fengzao palace, the holy family members have been ceremonious and have gained weight. It's hard to move. Daily life fatigue, sometimes phlegm disease. I came back to the palace from the banquet the day before yesterday, and I got cold and started an old illness. Unexpectedly, this time it was very dangerous. It was so bad that the phlegm was blocked and the limbs were cold. On the other hand, the doctor will be called for treatment. I didn't know that the soup and medicine were not available. Even the customs clearance agent was not effective. The internal officer was worried, so he ordered Jia's pepper room to see him. Grandma merchant entered the palace according to his order. When he saw that congubine yuan was salivating and unable to speak. When I met grandma merchant, I was only sad but had few tears. Grandma merchant goes in to say hello and say a few words of comfort. When he was young, the title of master merchant was gradually advanced, and the palace concubines played, but the eyes of concubine yuan could not care, and his face gradually changed. The eunuch in the inner palace is about to hear about it. He is afraid that he will send his concubines to watch him. The marriage of pepper house has been detained for a long time. Please serve him in the outer palace.

It is that since the election of the Phoenix algal palace, the wholy family members have been ceremonious and have gained weight. It's hard to move. Daily life fatigue, sometimes phlegm disease. I came back to the palace from the banquet the day before yesterday, and I got cold and started an old illness. Unexpectedly, this time it was very dangerous. It was so bad that the phlegm was blocked and the limbs were cold. On the other hand, the doctor will be called for treatment. I didn't know that the soup and medicine were not available. Even the customs clearance agent was not effective. The internal officer was worried, so he ordered Merchant‘s pepper room to see him. Grandma Merchant entered the palace according to his order. When he saw that Congubine Yuan was salivating and unable to speak. When I met Grandma Merchant, I was only sad but had few tears. Grandma Merchant goes in to say hello and say a few words of comfort. When he was young, the title of Master Merchant was gradually advanced, and the palace concubines played, but the eyes of Concubine Yuan could not care, and his face gradually changed. The eunuch in the inner palace is about to hear about it. He is afraid that he will send his concubines to watch him. The marriage of pepper house has been detained for a long time. Please serve him in the outer palace.--[[User:Xu Wenhui|Xu Wenhui]] ([[User talk:Xu Wenhui|talk]]) 07:38, 2 June 2022 (UTC)

==朝鲜语笔译徐文慧 Xu Wenhui 202170081639==

贾母王夫人怎忍便离，无奈国家制度，只得下来，又不敢啼哭，惟有心内悲感。朝门内官员有信。不多时，只见太监出来，立传钦天监。贾母便知不好，尚未敢动。稍刻，小太监传谕出来，说：“贾娘娘薨逝。”是年甲寅年十二月十八日立春；元妃薨日，是十二月十九日，已交卯年寅月，存年四十三岁。贾母含悲起身，只得出宫上轿回家。贾政等亦已得信，一路悲戚。到家中，邢夫人、李纨、凤姐、宝玉等出厅，分东西迎着贾母，请了安，并贾政王夫人请安，大家哭泣不题。次日早起，凡有品级的，按贵妃丧礼进内请安哭临。

Grandma Merchant and Lady King could not bear to leave, but had no choice but to come down from the state system. She did not dare to cry, but she felt sad inside. The official inside the door has a letter. Before long, the eunuch came out to preach The Imperial Board of Astronomy. Grandma Merchant knew it was not good and had not dared to move. A moment later, the little eunuch sent an oracle, saying: "Empress died." It is December 18, the beginning of spring; Concubine Yuan died and died on December 19. He was forty-three years old. Grandma Merchant sad up, only the palace on the sedan home. Master Merchant and so on have also got the letter, all the way sad. When they got home, Lady City, Silk Plum, Splendid Phoenix King, Precious Jade Merchant went out to greet Grandma Merchant with their belongings and pay their respects to Master Merchant and Lady King. Early the next morning, all who have grade, according to the funeral ceremony of the imperial concubine into the room to ask for peace and cry.

==比较文学与跨文化研究 Mahzad Heydarian 202021080004==

贾政又是工部，虽按照仪注办理，未免堂上又要周旋他些，同事又要请教他，所以两头更忙，非比从前太后与周妃的丧事了。但元妃并无所出，惟谥曰贤淑贵妃。此是王家制度，不必多赘。只讲贾府中男女，天天进宫，忙的了不得。幸喜凤姐儿近日身子好些，还得出来照应家事；又要预备王子腾进京，接风贺喜。凤姐胞兄王仁，知道叔叔入了内阁，仍带家眷来京。凤姐心里喜欢，便有些心病，有这些娘家的人，也便撂开，所以身子倒觉比前好了些。王夫人看见凤姐照旧办事，又把担子卸了一半；又眼见兄弟来京，诸事放心，倒觉安静些。

Master Merchant is also in the Ministry of Works. Although it was handled by the ceremonies, it was necessary to deal with him in the court, and his colleagues had to ask him for advice, so the two sides were busier, not compared with the funeral of the Queen Mother and Concubine Zhou in the past. But Concubine Yuan did not come out, but she was given the posthumous title of Concubine Xianshu. This is the royal family system, so there is no need to repeat it. It only talks about men and women in Merchant's house, who go to the palace every day and are very busy. Fortunately, Sister Phoenix is in better health recently, and she has to come out to take care of the housework. She also has to prepare Soar King to come to Beijing to welcome the wind and congratulate her. Sister Phoenix's elder brother Wang Ren brought his family to Beijing when he knew that his uncle had joined the cabinet. Sister Phoenix liked it in her heart, and she felt a little sick. She also gave up with these family members, so her body felt better than before. Lady King saw that Sister Phoenix was doing things as usual, and half of the burden was unloaded; and when she saw her brother come to Beijing, everything was relieved, and she felt quieter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:26, 30 May 2022 (UTC)

==外国语言文学 Akira 202121080009==

独有宝玉原是无职之人，又不念书，代儒学里知他家里有事，也不来管他；贾政正忙，自然没有空儿查他：想来宝玉趁此机会竟可与姊妹们天天畅乐。不料他自失了玉后，终日懒怠走动，说话也糊涂了。并贾母等出门回来，有人叫他去请安，便去；没人叫他，他也不动。袭人等怀着鬼胎，又不敢去招惹他，恐他生气。每天茶饭，端到面前便吃，不来也不要。袭人看这光景，不像是有气，竟像是有病的。袭人偷着空儿到潇湘馆告诉紫鹃，说是：“二爷这么着，求姑娘给他开导开导。”

Unique Precious Jade was a jobless person and didn't study. Confucianism knew that he had something to do at home, so he didn't care about him; Master Merchant was busy and naturally didn't have time to check him: I wanted to come to Precious Jade to take this opportunity to meet him. Sisters are happy every day. Unexpectedly, after he lost his jade, he walked around lazy all day, and his speech was confused. And when Grandma Merchant came back from going out, someone called him to greet him, so he went; no one called him, and he didn't move. Aroma and others were pregnant, but they didn't dare to provoke him, for fear that he would get angry. Everyday tea and rice, bring it to the front and eat it, don't come if you don't come. Aroma looked at this scene, and it didn't look like she was angry, but she looked like she was sick. Aroma stole the air to Bamboo Lodge and told Nightingale, saying, "Second Master is like this, I beg the girl to enlighten him."

Alone Precious Jade was not taking a government post, and didn't study, either, and Confucianism knew that there had been something sad with his family, so he didn't bother him; Master Merchant was so busy that he really had no time to push his son. It was expected that, therefore, Precious Jade could have seized this opportunity to play with his sisters every day. Unexpectedly, after he lost his jade, he was reduced to laziness all day and never meant to look for their accompany, and even said something confusing. And when Grandma Merchant came back from going out, he was asked to greet his grandma, so he went; he didn’t move when not being asked. Aroma and others were kept secrets and thus didn't dare to provoke him, for fear that he would get angry. For daily meals, he had it when sent before him, and didn’t ask if not being sent here. Seeing this situation, Aroma supposed that Precious Jade seemed not to be angry but sick, so she took the free time to Bamboo Lodge and told Nightingale, “Second Master has been so depressed lately, and he needs the comfort from your lady.”

--[[User:Bian Wangqian|Bian Wangqian]] ([[User talk:Bian Wangqian|talk]]) 03:15, 2 June 2022 (UTC)

==英语语言文学 Mariam Tourse 2020GBJ002301==

紫鹃虽即告诉黛玉，只因黛玉想着亲事上头，一定是自己了，如今见了他，反觉不好意思，“若是他来呢，原是小时在一处的，也难不理他；若说我去找他，断断使不得。”所以黛玉不肯过来。袭人又背地里去告诉探春。那知探春心里明明知道海棠开得怪异，“宝玉”失的更奇，接连着元妃姐姐薨逝，谅家道不祥，日日愁闷，那有心肠去劝宝玉？况兄妹们男女有别，只好过来一两次，宝玉又终是懒懒的，所以也不大常来。宝钗也知失玉。因薛姨妈那日应了宝玉的亲事，回去便告诉了宝钗。薛姨妈还说：“虽是你姨妈说了，我还没有应准，说等你哥哥回来再定。你愿意不愿意？”