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20220630 Culture 5

2022-07-05T09:27:05Z

Liu Yao: /* The Successful Transmission of Red Sorghum */

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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.

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.

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==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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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[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

2022-07-05T09:23:48Z

Liu Yao: /* Answers */

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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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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.

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.

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.

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Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.

==英语笔译刘乐乐 Liu Lele 202170081584==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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.

'''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

2022-07-05T09:22:44Z

Liu Yao: /* Questions */

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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==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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.
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==英语笔译刘双英 Liu Shuangying 202170081585==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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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[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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===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.

'''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.

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.

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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.

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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===

20220630 Culture 5

2022-07-05T09:21:14Z

Liu Yao: /* Terms and expressions */

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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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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.

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.

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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Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.

==英语笔译刘乐乐 Liu Lele 202170081584==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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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[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.

'''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===

===Answers===

20220630 Culture 5

2022-07-05T09:19:03Z

Liu Yao: /* References */

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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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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.

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.

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.

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Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.

==英语笔译刘乐乐 Liu Lele 202170081584==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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.

'''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===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T09:16:34Z

Liu Yao: /* Conclusion */

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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.

Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.

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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Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009.

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==英语笔译刘乐乐 Liu Lele 202170081584==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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.

'''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===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T09:16:09Z

Liu Yao: /* Dissemination of Representative Chinese Contemporary Literary Works */

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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==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===References===
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==英语笔译刘双英 Liu Shuangying 202170081585==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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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[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.

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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.

'''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.

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T09:15:40Z

Liu Yao: /* Dissemination of Contemporary Chinese Literature in France */

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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==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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.
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==英语笔译刘双英 Liu Shuangying 202170081585==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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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[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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===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.

'''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.

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T09:13:28Z

Liu Yao: /* The Successful Transmission of Red Sorghum */

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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
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*[[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==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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===

[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.

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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.

'''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.

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T09:10:48Z

Liu Yao: /* The Successful Transmission of Red Sorghum */

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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
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*[[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
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*[[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==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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===

[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.

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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.

'''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.

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T08:54:12Z

Liu Yao: /* Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries */

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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==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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===

[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.

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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.

[[File:]]

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T08:45:43Z

Liu Yao: /* Dissemination of Contemporary Chinese Literature in English-speaking Countries */

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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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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.

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.

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.

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Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.

==英语笔译刘乐乐 Liu Lele 202170081584==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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===

[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).

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T08:42:53Z

Liu Yao: /* Dissemination of Chinese Contemporary Literature in Different Regions */

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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.

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.

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==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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===

[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).

===Dissemination 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). In the first stage, Chinese contemporary 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. 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, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, 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 propaganda; 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 market. The English-speaking world and 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.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T08:39:12Z

Liu Yao: /* Introduction */

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==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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.
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==英语笔译刘双英 Liu Shuangying 202170081585==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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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[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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===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.

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination 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). In the first stage, Chinese contemporary 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. 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, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, 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 propaganda; 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 market. The English-speaking world and 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.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T08:35:30Z

Liu Yao: /* 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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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.

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.

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Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.

==英语笔译刘乐乐 Liu Lele 202170081584==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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===

[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===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination 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). In the first stage, Chinese contemporary 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. 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, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, 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 propaganda; 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 market. The English-speaking world and 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.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T08:34:41Z

Liu Yao: /* Abstract */

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

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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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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.

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==英语笔译刘乐乐 Liu Lele 202170081584==
'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===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.===Subtitle1===
===Similarities===
2.1 A Special Academy
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", 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 famous diaos in Dragon clan. 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.
===Application===
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.

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 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.

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？
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.
===Conclusion===
===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==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===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===

[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===
Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

===Introduction===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination 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). In the first stage, Chinese contemporary 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. 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, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, 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 propaganda; 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 market. The English-speaking world and 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.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

20220630 Culture 5

2022-07-05T08:32:34Z

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20220630 Classics 3

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==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Study on the Canonization of Chinese Modern Poetry'''</center>

<center>Liu Ting</center>

===Abstract===

It has been more than a century since the birth of Chinese Modern Poetry, also known as the new poetry. As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to Chinese ancient poetry and songs, which have a long history and cultural accumulation. So, its canonization has always been the common concern of writers, scholars and researchers. In any country, canonization of any literary work is a long and complicated process in terms of time and mechanism. The canonization of new poetry has rich texture in the synchronic and diachronic aspects of literary history. This paper analyzes the essential characteristics of the so-called "classic" works and points out the problems faced by the canonization of new poetry and only by solving these problems can the canonization of Chinese modern poetry be put on the right track.

===Key words===

Chinese modern poetry, canonization, classic work

===1. Introduction===

Chinese Modern Poetry, also known as the new poetry, refers to the poetry genre that emerged around the May Fourth Movement, which is different from the Chinese classical poetry and uses vernacular when it is composed.

During the development of Chinese literature, poetry, including Han Fu, Tang poems, Song Ci, Yuan Qu, had achieved great successes. However, in modern times, the creation of classical poetry gradually became rigid, using lots of clichés, and the words used in classical poems were seriously disconnected from modern spoken language. The strict restrictions on the form including the verse style, rhyme, allusions etc., were a great constraint on poetry's ability to express the ever-changing and increasingly complex social life and to express people's true thoughts and feelings. Therefore, the new poetry revolution became the first and most important part of the New Literary Movement in the May Fourth period.

As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to the old poetry and songs, which have a long history and cultural accumulation. But with its freedom, flexibility, and versatility, new poetry has maintained its creative vigor and vitality over the past century. From form to content, from creation and dissemination to influence, new poetry can be said to be relatively complete, vigorous and uncompromising.

The issue of literary classics and the canonization of literary works is a hot issue that has always been of concern to academics. In terms of the classical quality of poetry, the power that new poetry has contributed to the history of Chinese poetry over the past century should not be underestimated. As far as the century of Chinese new poetry is concerned, the modern new poetry classics and the rationality of their canonization have been gradually recognized in recent studies, while the issue of its canonizaton is quite controversial. Canonization is actually a process rather than a result. Many scholars have doubts about whether "Canonization" of new poetry is a valid term, because the time of generation and development of them is still short compared with that of Chinese classical poetry, and "classics" must go through layers of elision by years and readers, and through the heavy burden of generations. The reason is that the generation and development of contemporary new poetry is still short compared to that of modern new poetry, and the "classics" must go through the test of time. Of course, this is the general understanding of the generation of classics, but while seeing the ephemeral nature of the generation of "classics", we should also see the commonality of the generation of them.

By clarifying the defining characteristics of Chinese new poetry and classic works, this paper points out the difficulties and misunderstandings encountered in the canonization of Chinese new poetry today, and only by solving these problems and breaking these misunderstandings can the canonization of Chinese modern poetry be put on the right track.

===2. Chinese Modern Poetry===

To solve the problem of canonization of Chinese modern poetry, first and foremost, it is necessary to have an understanding of it. This chapter introduces the development of new poetry, its representative figures, the literary characteristics of poetry and its achievements.

2.1 Development of Chinese Modern poetry

Compared with drama, novel and prose, the century-long development of Chinese modern poetry is relatively weak. Novel and prose, after all, still has Lu Xun, Ba Jin and Lao She; drama has Cao Yu, Lao She and; all these writers have been recognized by the world. Poetry, on the other hand, lacks such figures. New poetry faces two peaks that are difficult to surpass: one is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare. The existence of poetry requires the existence of a refined and mature national language, and poetry is most closely connected to language, while modern Chinese has only been existed around for a century. Nevertheless, achievements of Chinese modern poetry are remarkable. The most important development stage of it was the first thirty years after its birth.

2.1.1 The first decade

At the experimental stage, Hu Shi was regarded as "the first vernacular poet." His Trying Collection (1920) was "a bridge” between the old and new poetry. Individual poems at this time had modern lyrical forms, but most of them still could not escape from the formal tradition of classical poetry. The techniques of the new poetry were firstly, "line drawing" and secondly, metaphorical symbolism. The early vernacular poems are thus divided into two categories: the first is the objective realistic tendency of using white description; the second is the modernist tendency of putting things into context. The latter is not common in traditional poetry.

At the foundational stage, Guo Moruo's "Goddess" (1921) was the foundation of Chinese new poetry. The lyrical nature of poetry and the individuality of it were given full attention and play, and the strange and daring imagination really made the wings of poetry soar. " The free spirit of the May Fourth Era and the artistic rules of poetry itself are fully reflected in this collection.

At the normalization stage, if "Goddess" broke the traditional poetic rules with the spirit of "absolute freedom and absolute autonomy", the New Moon School was born in response to the need, with Wen Yiduo, Xu Zhimo, Zhu Xiang and Lin Huiyin as its representatives, advocating "rational moderation of emotions". " Wen Yiduo advocated the metrical and standard patterns of the new poetry and proposed the theory of "three beauties" of poetry: music beauty (level and oblique tones and rhyme), pictorial beauty (the theory that Chinese poetry and painting are connected), and architectural beauty (proportionality of stanzas and evenness of sentences).

2.1.2 The Second Decade

The Chinese Poetry Society was a mass poetry group led by the Left League, inheriting the early proletarian poetry tradition of Jiang Guangci from the previous decade, with Yin Fu as its representative. The characteristics were: first, reflecting the revolutionary struggle and major events of the times; second, emphasizing the ideologization of poetry, the subject of poetry was not the poet himself but a fighting collective; third, focusing on realism in artistic expression. This somewhat deviated from the essence of poetry, which is the catharsis of individual's emotions.

In the later period, the poems of the New Moon School shifted the focus of their lyricism to the "trembling of the soul" and the alienation of the modern human spirit. Xu Zhimo's "Collection of Fierce Tigers" and "Collection of Cloudy Travels" are representative of this. "Farewell to Cambridge Again" belongs to this period, but its mood is still a remnant of the previous one. New poets, such as Chen Mengjia and Fang Wei De, were students of Xu Zhimo. And the poetry at this period, borrowed the form of sonnets.

Shi zhe was another poet at this period. He emphasized the need to write purely modern poetry, which is genealogically related to the early Symbolist poetry and used modern rhetoric to arrange modern poetic forms. The "leaders of the poetry world" at this time is Dai Wangshu and Bian Zhilin. Dai Wangshu was known as the "Rainy Lane Poet" with his poem "Rainy Lane". Bian Zhilin, on the other hand, was influenced by Xu Zhimo and Dai Wangshu, and provided something new to the new poetry, namely, a shift from the main emotion to the main intellect. He was one of the poets in the history of new poetry who was consciously philosophical, and his poetry was surprising in its simplicity because he was good at penetrating and exploring the phenomena of daily life philosophically.

2.1.3 The Third Decade

Ai Qing accomplished the task of "synthesis" in the history of Chinese poetry. On the one hand, he insisted on developing the realistic and fighting tradition of the poets of the Chinese Poetry Society, on the other hand, he overcame and abandoned their weaknesses of "childish shouting", and at the same time, he critically absorbed some of the achievements of the modern poets in their artistic exploration of new poetry, further enriching and developing the art of poetry. He drew on the passion of Guo Moruo and the pursuit of external forms of the New Moon School, and Ai Qing began to pursue an inner beauty in Chinese new poetry. He became the most influential poet of the third decade. He was also one of the first new Chinese poets to go global.

At the beginning of the war, the Chinese Poetry Society, the New Moon School, and the Modernist poets all sang the battle hymn of national liberation. During the war period, the debate over the aesthetic and artistic characteristics of poetry and political propaganda brought people to a new level of understanding of the content and form of poetry. There were many academic works that raised the artistic discussion of new poetry to a theoretical level: Ai Qing's "Essay on Poetry", Zhu Ziqing's "Miscellaneous Discussions on New Poetry", Li Guangtian's "The Art of Poetry", and so on. Zang Kejia wrote "Songs of the Clay" and Dai Wangshu wrote "Years of Catastrophe", and there was a transformation of style, integrating the "small self" into the "big self". The most influential poetry school during this period was the July Poetry School. Under the influence of Ai Qing, this school of poetry was formed by Hu Feng as the center, with July and other publications as the main base. It advocated revolutionary realism and free verse as its main banner, and had a great influence in the National Unification Area.

After the end of the war, the new poetry took on a new life. In literary history, the Nine Poets school led by Mu Dan are known as the "New Chinese Poetry School". They emphasized, first, the modernization of the way of thinking about poetry. The second was the extreme importance attached to the application of everyday language and the rhythm of speech. "Only words and rhythms that are varied, flexible, fresh, and vivid can properly and effectively express the strange sensitivity of the modern poet's senses and the rapid changes in his thoughts." The emphasis on the basic transformation of poetic thinking and language, which characterized the Chinese New Poetry School, also concentrates on its rebelliousness and heterogeneity, which precisely echoed the claims of early vernacular poetry in a distant way.

2.2 Value of Chinese Modern poetry

The value and significance of modern Chinese poetry does not only lie in the depth and breadth of thought and emotion expressed in the works of its outstanding writers and artistic thinking, but is also closely related to the cultural characteristics it reflects. As representatives of modern Chinese intellectuals with the most prominent self-awareness, the cultural consciousness of modern Chinese poets and their many outstanding creations not only provides readers with a rich and unique scope of understanding and propositions at the level of ideology, but also gives a taste of the free power and will of their individual lives in the vibration of the intersection of different cultures and the care of national emotions.

Chinese modern poetry has been following the changes in the future and destiny of the nation, and has been deeply concerned with the suffering of the masses, especially the creation of realistic poetry, which integrates realism and lyricism into one, has gained great significance. Guo Moruo's "Phoenix Nirvana", Wen Yiduo's "Dead Water", Dai Wangshu's "I Use My Broken Palms", Zang Kejia's "Old Horse" and Ai Qing's "Snow Falling on the Land of China" all belong to this category, and they are all typical modern poems with the theme of worrying about the country and the people. As a "social discourse for the masses" with strong, sharp values and realistic concerns, they indeed disclose the heavy and oppressive environment of the time and the sense of suffering and crisis caused by the increasing destruction of modern China by the real oppressors and invaders, and those politicized complaints of grief and anger processed by the authors' reason and emotion also inherit the sense of historical mission of classical Chinese poetry: "Essays are written for the time, songs and poems are written for the matter. "The poetry of modern poets, however, is not as good as that of classical poetry. However, in contrast to classical poetry, modern poets have been able to consciously strengthen their "self-awareness" in the midst of successive social changes, national suffering, and political turmoil, thus examining the close relationship between the changes of the times, public suffering, and the poet with the poet's real identity and vision, and integrating the poet's independent "self-awareness" into the "self-awareness" of the poet. The poet's independent "self-consciousness" is integrated into the "social discourse of the masses"

Since the real feeling of individual independence and emancipation and its cultural and psychological structure have gained a dominant position in modern China, the modernization of Chinese poetry is gradually free from the traditional aesthetic thought's domination and bondage to the poet's personalized historical experience and unique feeling in the continuous farewell to the traditional consciousness of classical poetry. In other words, many modern poets have become the most important poets. In other words, many modern poets have achieved complete emancipation from the classical poetic consciousness with a very distinctive personal character. Nevertheless, modern poetry has clearly increased its tendency to express "motherly emotions" accompanied by sorrow and grief. Bing Xin's small poems, for example, have a great deal of motherly love and tenderness molten into the artistic world she has constructed, fully reflecting the modern woman's self-consciousness, and vividly embodying the modern intellectual woman's painful independent personality of "living in evil but loving goodness", which is a struggle of the inner soul. Classical poetry generally does not reveal the oppressive factors of women's existence from the perspective of women's care, and often examines women's lives with a tragic vision and a sense of suffering. In contrast, the new poetry tries to explore women's unique life consciousness, emotional imagery and their inner flashing moments of perception, in order to replace the vague and hazy or generally suppressed monotonous and long-lasting sadness of classical poetry, whose overall sense of life and overall mood underline the poet's deep concern for women's cultural consciousness. In this sense, modern poetry has gained its own vitality because of the significance of women's cultural awakening.

To sum up, the general awakening and vigorous exploration of the self-consciousness of modern Chinese poets has given modern poetry a more independent, profound, liberating and new way of thinking and value of thought and art, different from the classical poetry.

===3. What is Classic===

From the reality of Chinese literature in the 20th century, both the discussion on whether there are classics in modern literature and the sense of anxiety crisis about the classics of modern literature are greatly related to the understanding of the meaning of classics. I have the following four understandings of the connotation of the classics.

First of all, in terms of spiritual meaning, literary classics shine with the light of thought. It is often rooted in the times, showing the distinctive spirit of the times, with the character of historical reality, but also outlines and reveals the far-reaching rich cultural connotations and human implications, with the transcendent open character. It often raises fundamental questions about human spiritual life, such as man and nature, man and society, and man and himself. At the same time, classics and classical interpretation have a close relationship, and classics must be continuously compiled and organized, accepted and disseminated, and revered in order to become classics. Original classics also need original interpretation, and original interpretation may become new classics or have new classical characteristics.

Secondly, from the point of view of artistic aesthetics, literary classics should have a "poetic" connotation. It is the creation of an irreducible artistic world permeated by the writer's unique worldview, which can provide some kind of aesthetic experience that no one has ever provided before. It is a unique aesthetic grasp of the world based on sensual life, spiritual needs, and even the individual and collective unconscious. This aesthetic grasp, through original efforts, incorporates the rich and colorful world of the mind and the vivid and rich real life, and also absorbs the past and future life into the present with the "time field of presence" that is generated and acted upon. The literary classics created in this way can make the human nature and human heart connected, and the heart of literature and poetry connected, so that the culture and literature of different periods can get deep communication.

Thirdly, from the perspective of national characteristics, literary classics often open a new chapter in the history of national literature, with the value of "history". That is to say, the literary classics can promote a nation's language and thought to a new platform. Just like Shakespeare's modernity in English and English literature, Pushkin's modernity in Russian and Russian literature, Lu Xun and the new literary classics in the May Fourth era also pushed our national language and thought to a new height and a new platform through the original artistic world of modern Chinese. This made it possible for the writers and theorists of modern literature to operate, communicate and create on this platform, and thus a series of classical achievements emerged.

Fourthly, from the acceptance of the classics, literary classics must be accepted and appreciated by the majority of readers. There are indeed many classics of highbrow literature, but those that are loved, recognized, appreciated and enchanted by a wide audience are the classics of classics. The "Three Hundred Tang Poems" have been printed countless times, with billions of readers. Therefore, a classic work must be a work respected by the public, and it must conform to the public's value orientation, respond to the public's will and pursuit, in order to constantly renew new vitality and vitality in order to be immortalized.

===4. Problems about Canonization===

Although a number of well-received classics of Chinese modern poetry have emerged or are being classicized in its hundred years of development, there are still many problems that need to be solved. Only by solving these problems and recognizing some misconceptions can we better promote the process of canonization of new poetry.

The first problem is the vision of the selector. As it mentioned above: the classics are often rooted in the times, not only displaying the distinctive spirit of the times, but also summarizing and revealing the far-reaching and rich cultural connotation and the meaning of human nature and having the character of transcendent openness. Therefore, there is a need for selectors and editors with vision, thoughtfulness, noble character and culture to select and recommend Chinese modern poems that can be regarded as classics for us. However, some selectors and editors lack a comprehensive, objective and fair vision when they compile anthologies such as "New Poetry Classics of 100 years". They choose poems according to their own preferences, and choose whoever I want to choose, and let whoever I want to stand aside stand aside. In this way, some fine and classic works with superior ideology and art are blocked and rejected by him, while some unknown works with low artistic achievement and simple connotation are regarded as classics by him. In view of this we should strictly screen the professionals to ensure that they can take a serious and responsible attitude, be unbiased, to prepare an excellent collection of selected new poetry classics for everyone to appreciate, read and taste, and promote the process of canonization of new poetry.

The second problem is the vision of a literary historian. As mentioned above: literary classics often open a new chapter in the history of national literature, with the value of "history". Therefore, literary historians play a crucial role in the process of canonization of Chinese modern poetry. If a poet's poems enter the history of literature and new poetry, and are recommended and analyzed as a key poet, it seems that he will definitely be a "classic poet" and his poems "classic poems ". However, it should also be recognized that many literary historians are unable to be unbiased, and the literary and poetry histories they have written have obscured and blocked many new poetry works that have had a significant impact, and inappropriately regarded some works that readers know nothing about as masterpieces.

The third problem is the selection of Chinese modern poems in Chinese textbooks. The role of Chinese textbooks is crucial to the canonization of poetry. In my personal experience, those textbooks are more inclined to poems with aesthetic nature, complex connotations, focus on the experience of life, the beauty of humanity, etc.. However, the sense of the times is often not strong enough. Some "purely lyrical" poems are necessary, but masterpieces that reflect the spirit of the times and real life should not be completely excluded. Language teaching materials are responsible for the canonization of new poetry.

The fourth problem is the education and teaching of new poetry. When it comes to the selection and editing of new poems in Chinese textbooks, the issue of education and teaching of new poems is naturally inseparable. The canonization of poetry is inevitably associated with poetry reading, and the level, form and state of poetry reading are obviously subject to the various stages and levels of contemporary poetry education and literary education, the latter's influence on aesthetic ability and aesthetic intuition is evident to all. In reality, few teachers are willing to make great efforts to guide students to appreciate the beauty of Chinese modern poetry, and few students are really interested in them. The reasons for this are many. The first reason is that modern poetry has a low status. Chinese modern poetry is far inferior to classical poetry, which has a cultural history of several thousand years, in terms of quantity and quality, as well as the number of poets. Another important reason for the low status of modern poetry in language teaching is that it is not considered as part of the test in China's exam-oriented education. The appreciation of ancient poetry, instead of modern poetry, is often taken as a key test in the examination of poetry appreciation, and when students are asked to write something, it is often explicitly state that the genre is not limited except for poetry, etc. Secondly, teachers' poetry literacy is not good enough. The poetry literacy of Chinese teachers directly affects the quality of poetry teaching. For a long time, modern poetry is a niche literature in Chinese literature, and people in general like to listen to stories but not to read poems, to read novels but not to read poetry collections, and even many Chinese teachers have very little experience of modern poetry, very little knowledge reserve of modern poetry, and not high poetry literacy. This directly leads to the fact that in order to complete the teaching plan, teachers will only boringly read from the text and cannot well guide students to appreciate the beauty of modern poetry. Some teachers even teach it quickly and do not seek for teaching quality, which greatly erases students' interest in learning poetry.

The fifth problem is the public's awareness. The making of "classic" new poems is closely related to society, media and education. The repeated selection and publication by publishers, the repeated broadcasting and promotion by TV, radio and newspapers, and the long-term "required reading" in Chinese textbooks are the most important channels for the creation of classics. In addition, the awareness of the public is also an important factor. However, Chinese modern poetry is still far from being publicized, and only a certain circle of people knows about the new poems, while the rest of the people can only recite or memorize few poems that are selected for language textbooks, which is far from enough. The most important factor in the highest achievement of Tang poetry in ancient China lines in the its high quality and higher production, while new poetry, except for the rapid development in the first thirty years, has seen fewer and fewer excellent poets emerge in the later period, gradually fading out of the ordinary people's view. In view of this, relevant institutions can organize some programs and activities, so as to publicize Chinese modern poetry; hold related competitions, so as to reward the creation of new poems.

===5. Conclusion===

For Chinese poetry, it is a remarkable thing to leave so many influential, distinctive and standard works to posterity with only a hundred years of development. And the study and research of the canonization of Chinese poetry is also very meaningful. But the canonization of modern poetry is a long way to go and requires a lot of efforts.

In this paper, we analyze the development and value of modern Chinese poetry, introduce the elements of excellent classical works, and point out five problems in the canonization of modern poetry nowadays. The author hopes that these five problems can be properly solved in the future, so as to promote the process of poetry canonization. The classic poems we select are not necessarily the most valuable works, nor are they necessarily the works with the greatest room for interpretation, nor are they necessarily of high literary achievement, nor do they necessarily reflect the characteristics of the times most accurately, but the selection of classic poems should reflect the basic consensus of readers and be widely accepted. The new poetry classics can look for excellent works that can serve as spiritual resources, value formation and value cultivation for our younger generation and our public, while also taking into account the characteristics of the Chinese language itself. Canonization is not something that can be accomplished by any one generation, and the process of canonization requires different or the same efforts from different generations.

In short, excellent works will overcome the test of time and be immortalized and enshrined as classics.

===References===

===Terms and Expressions===

Chinese modern poetry 中国现代诗歌

Canonization 经典化；承认为圣典

Synchronic 共时性的

Diachronic 历时性的

Go global 走出去

Vernacular poem 白话诗

Lyrical poems 抒情诗

Highbrow literature 高雅的文学作品；阳春白雪

Chinese textbook 语文课本

Knowledge reserve 知识储备

Rhythm 格律；韵律

Artistic aesthetics 艺术审美

===Questions===

1. Who was regarded as "the first vernacular poet"?

2. New poetry faces two peaks that are difficult to surpass. What are they?

3. In China's exam-oriented education, which one is more likely to be examined, ancient poetry or modern poetry?

===Answers===

1. Hu Shi.

2. One is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare.

3. Ancient poetry

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Domestication in Self-translation—A Case Study of ''Taipei People'''''</center>

<center>Liu Yao 刘瑶</center>

===Abstract===
Self-translation enjoys a long history, but for various reasons, it has only gradually attracted the attention of the translation field in the past thirty years. The domestic studies of self-translation mainly focus on the self-translated works of Lin Yutang and Eileen Chang, and relatively little attention has been paid to other self-translators like Pai Hsien-yung and their self-translated works. Therefore, by analyzing Pai Hsien-yung's self-translated work ''Taipei People'', this paper aims to reveal the translation strategies and methods used by self-translators in translating their own works, so as to enrich the study of self-translation.

Self-translation, as a special mode of translation, is different from other-translation, which is a more traditional mode. In a self-translated work, the translator has two identities, that is the author of the original text and the translated text. Due to this relation, the translator has a deeper understanding of the original work and can convey the ideas of the original text more accurately in the translation process. In the meanwhile, compared with other translators, self-translators are braver and more free to modify the translation in the process of translation, which is further reflected in the translation’ s more accurate communication of the ideas of the original work. In order to convey the message of the original work, self-translators tend to choose the strategy of domestication in order to bring the translation closer to the readers. This paper will analyze Pai Hsien-yung’ s self-translated work ''Taipei People'' and explore the domestication strategy he used in his translation to achieve some specific purposes. The choice of this translation strategy reflects the self-translator’ s profound master of the original work and also offers certain implications to the translation of other literary works.

===Key words===
self-translated works, domestication, ''Taipei People''

===Introduction===
Xia Zhiqing (1969: 39), a well-known literary critic of China, praised Pai Hsien-yung as "a rare genius among contemporary short-story writers" in his long article and argued that "there are only five or six people including Lu Xun and Zhang Eiling who can compare with or surpass Pai Hsien-yung's later novels in terms of artistic achievement." As a famous Chinese writer, Pai Hsien-yung has written many popular works, and his masterpiece ''Taipei People'' was selected as the seventh of the top 100 Chinese novels of the 20th century by ''Asiaweek'', which is the highest ranking of the works of Chinese writers alive. ''Taipei People'' is a collection of deeply complex short stories, in which 14 short stories depict the transformation of the lives of people from all walks of life in Taiwan during the transition from the old to the new era, with a sense of the rise and fall of history and the vicissitudes of the human world.

The English translation of ''Taipei People'' was done by author Pai Hsien-yung and translator Patia Yasin, and edited by renowned translator George Kao. In 1982, Pai Hsien-yung and Patia Yasin translated ''Taipei People'' into English and published it by Indiana University Press, using the English title of one chapter of the novel ''Wandering in the Garden, Waking from a Dream: Tales of Taipei Characters'' as the title of the collection. In 2000, a new translation was published by the Chinese University of Hong Kong Press, and the title was changed to ''Taipei People''. In 2013, Guangxi Normal University Press introduced a Chinese-English version of ''Taipei People''. During the process of translating this novel, due to the special identity of the translator, in order to better convey the deeper meanings and ideas in the original work, the translator chose the translation strategy of domestication at most of the time, so as to better present the original content and its deeper meanings to the foreign readers.

As the author of the work himself, Pai Hsien-yung sincerely affirmed the significance of ''Taipei People''. The high praise of the work from the outside world made him more certain of its value, and his bilingual and bicultural abilities convinced him that he could accomplish the task of self-translation. What's more, out of his identity as an author and his pursuit of self-perfection, he and his co-translator Patia Yasin actively engaged in cultural discussions. After continuous discussions and corrections, they strove to achieve a perfect translation. At the same time, as a self-translator, Pai Hsien-yung is more concerned about the acceptance of the translation in target language culture and the expectations of target readers, so he prefers to adopt a translation strategy based on domestication, and flexible and varied translation methods such as direct translation, free translation, addition, and transliteration, in an effort to absorb the meaning and form of the original work and try to achieve equivalence.

===Literature Review===
'''Definition of Self-translation'''

Self-translation refers to a translation pattern with specific meaning, usually the self-translation of literature. Grutman (1997: 17) in his ''Routledge Encyclopedia of Translation Studies'' defines it as "the act of translating one's own work or the result of that act." He also emphasizes internal intertextuality among texts and claims that there are two different types of self-translation, namely simultaneous self-translation and delayed self-translation. Grutman has also discussed in detail with Van Bolderen ( 2014: 325-327) discuss in detail the motivation of writers' self-translation. In their view, the motivation of writers to translate themselves can be summarized as the following four points: first, they hope to gain new and more readers; second, being in a foreign country is a catalyst for writers to translate themselves; third, they translate themselves in order to solve certain practical problems, such as economic problems, ideological audit problems, etc.; fourth, they are dissatisfied with existing translations or fear that handing over their works to others for translation will damage their works. In China, many modern and contemporary writers, represented by Eileen Chang, Lin Yutang and Pai Hsien-yung, have translated their own works.

There are three groups of scholars holding different viewpoints respectively in academic circle with regard to whether self-translation falls into the category of translation. The first group deems that self-translation in nature is one type of translation irrespective of its creativity. The second group holds that self-translation cannot be regarded as genuine translation but rewriting or re-creation of the original text. There are also some scholars who insist that self-translation is neither pure translation nor mere creation but a variant produced when the translator reshapes himself. This paper believes that self-translation depends more on self-translators' faithfulness to the original work. Therefore, self-translation belongs to the category of translation though its creative features and the self-translators' subjectivity are more prominent than conventional translators（Zhen Yantong，2019）.

'''Previous Studies on Pai Hsien-yung and His Self-translation ''Taipei People'''''

This paper is aimed at making an analysis of Pai Hsien-yung's self-translation of his work ''Taipei People'' to probe into the features of self-translation. Therefore, it is necessary to get an overview about the author, the work itself, the present translation of ''Taipei People'' and previous studies concerning its self-translation.

'''Brief introduction to Pai Hsien-yung and ''Taipei People'''''

Pai Hsien-yung, was born as the fifth son of the distinguished military strategist Pai Ch'ung-hsi in 1937 when the War of Resistance against Japan broke out. In 1965, he received his B.A from Taiwan University in 1961 and his M.F.A from the International Writers' Workshop at the University of Iowa. From 1965 to 1993, he taught Chinese language and literature in the East Asian Studies Program at UCCSB. Thanks to his rich life experiences, he has published a great majority of short stories, a full-length novel, and a number of essays.

According to Pai Hsien-yung's anthology, he has also conducted four self-translation activities, involving three books, namely ''Hong Kong 1960'', ''Zhexian ji'' and ''Taipei People''. ''Taipei People'' consists of fourteen stories which recount the latter-day careers of assorted mainlanders who sought refuge in Taiwan in the 1950s. While only several of them has been translated due to great translation difficulty, for instance, ''The External Yin Hsueh-yen'', ''New Year's Eve'', ''Jung's by the Blossom Bridge'' and ''One Winter Evening''. Therefore, in 1982, Pai Hsien-yung, with the help of Patia Yasin and George Kao, self-translated and Published the first version of ''Taipei People'' which is titled as ''Wandering in the Garden, Waking from a Dream'' with a subtitle Tales of ''Taipei Characters''. And this version then was revised to ''Taipei People'' and published in 2000 by Chinese University Press of Hong Kong.

'''Previous Studies on Self-translation of ''Taipei People'''''

Only a few studies focus on the translation of ''Taipei People'' due to the limited translated version of it. According to the papers and journals collected, studies related to it are summarized as follows.

Wu Bo (2004) points out that the translator's task must not be simply summarized as "faithful to the author and the original". As a factor with the strongest subjective initiative in the translation, the translator's ultimate task is to reconstruct the original work by personally intervening in the translation and reconstructing the original to a certain extent. At the same time, the translator explores the similarities and differences between the source culture and the target culture, which promotes the dialogue between the original text and the translation. Chen Jirong and Xia Tingde (2010) hold that Pai Hsien-yung's self-translation highlights creativity and relevance. Starting from practical experience，they divide his self-translation into three stages and discuss his self-translated works from the relationship between self -translation and conventional translation, dialectical relationship between the language of creation and the language of translation，dialectical relationship between the author and the translator. They also praise Pai's emphasis on the historicity of translation, cosmopolitan vernacular and the continuity of translation.Zhu Jing (2012) takes ''Taipei People'' as an example to explore the self-translation of literary works under the guidance of translation ethics. She finds that self-translators with dual subjectivity have high reader consciousness and they can boldly modify the source text to make the translation conform to the norms of the target language and obtain higher literary and aesthetic effects. Through a study of Pai Hsien-yung's self-translated work ''Taipei People'', Yu Rongqi (2014) found that in order to be faithful to the original text, retain the unique expressions of Chinese, and convey the symbolic meaning and cultural factors of the original, the self-translator adopts a variety of different approaches to translating the names of characters and Chinese characteristic words in the novel, reflecting his unique understanding of the purpose and connotation of the translation. This also indicates that the self-translators have greater autonomy in their translations than ordinary translators, and in order to achieve their specific translation purposes, the self-translators will have their own unique insights in the choice of translation strategies. Yang Lin (2015) argues that the analysis of self-translating activities of self-translators can also provide some insight into the activities of translating others. Translation requires fidelity, but fidelity does not require complete reciprocity. She argues that on the one hand, we should understand the original text more deeply and then reproduce it precisely, while on the other hand, we should not focus too much on the gain or loss of a word or a sentence, but should pay more attention to the communication of the spirit of the work, just like the "intertextual coherence" proposed by Vermeer, i.e. we should focus on the overall. Only in this way can we obtain a translation that is more acceptable to readers in the culture of the target language. Chen Xi and Li Xiaoxiang (2016) attempt to examine Pai Hsien-yung's translation ethics by analyzing his translation strategies and translation beliefs in the self-translation of ''Taipei People''. The study indicates that self-translation of names is more in line with the author's creative intention and closer to the theme. In this way, he takes Pai Hsien-yung as a reference to inspire conventional translation and provides some suggestions for translation of literary works. In the light of Bourdieu's theory of habitus, Liu Xiaofeng and Ma Huijuan (2016) investigate the development, features and interrelation of Pai Hsien-yung's literary habitus and translation habitus, and explicate that the self-translation of ''Taipei People'' is the result of structuration of the translator's literary habitus and translation habitus, as well as his group's habitus. Based on sociological theory and especially the concepts of habitus, capital and field, Song Shizhen and Wang Hongtao (2017) try to make a comprehensive and in-depth analysis of the translation and transmission of ''Taipei People'' in different literary fields. The paper discusses the self-translator's intervention in the self-translation activity and influence of cultural capital and social capital on the translation practice in order to reveal the social operation mechanism behind its successful transmission. Song Xueqi (2018) chooses Eileen Chang and Pai Hsien-yung as the research objects, who are the self-translators with similar bilingual competence. Their self-translation works The Golden Cangue and Winter Night from ''Taipei People'' are analyzed. By comparing their re-creation level and the pattern of its manifestation during their translation activity, Song aims at exploring whether bilingual competence is the influence factor on translating and re-creation, and how it affects the relationship between translating and re-creation. Based on Andre Lefevere's theory of patronage, Guo Jia (2019) comprehensively described the various appellation translation methods in the book of ''Taipei People'', analyzing the reason for diverse translation methods via a number of appellation translation examples with the help of paratexts, narrations, interviews and correspondence. The conclusion is that appellation translation in literary works requires more flexibility. Yuan Yuan (2019) analyzes four types of cultural load words in English translation from the perspective of schema theory: overlap, dislocation, default and conflict, summarizes the cultural schema correspondence of Chinese-English cultural load words, and proposes corresponding translation strategies for the translation of cultural load words under these four types of cultural schemas by taking the Chinese-English version of ''Taipei People'' as a case study object, with a view to enriching the operational form and cultural connotation of cultural load words translation activities of Chinese modern contemporary novels. Zhen Yantong (2019) analyzes systematically the self-translated work ''Taipei People'' with the purpose of exploring the characteristics of self-translation and summarizing translation strategies and methods employed by the self-translator. Through a comparative study, Chen Ziyu (2021) found that the self-translation version of ''Taipei People'' is a unity of "translation" and "rewriting". And from the perspective of translation ethics, he explores the special ethical choices the self-translator made and the translation strategies the self-translator adopted in the hope of inspiring the conventional translators and bringing inspirations to literary translation and the overseas promotion of Chinese literature.

It is obvious that there are only a small quantity of studies on self-translation of ''Taipei People'' and the research perspectives are miscellaneous. Most of them focus on the self-translator and almost no research examines the whole self-translation process systematically to probe into the translation strategies.

===Methods and Theories===
'''Research Methods'''

This paper is aimed at making an analysis of the domestication strategy adopted by Pai Hsien-yung to achieve his translation purpose. And based on this, this paper mainly adopts the following two research methods: 1. case study. This paper focuses on Pai Hsien-yung and his self-translated work ''Taipei People''. 2. comparative study. This paper makes an in-depth analysis of ''Taipei People'' through selecting examples from both the original text and the target text.

'''Definition of Domestication'''

Domestication is a translation strategy proposed by Lawrence Venuti (1995: 20), a famous American translation theorist, in The Translator's Invisibility—A History of Translation in 1995, as opposed to foreignization. According to Venuti, domestication is "bringing the author into the culture of the translated language". Generally speaking, domestication translation means to localize the source language, take the target language or the target readers of the translation as the destination, and adopt the expressions that the target readers are accustomed to in order to convey the content of the original. Domestication translation helps readers better understand the translated text, and also enhances the readability and appreciation of the translated text.

===Domestication in the Translation of ''Taipei People''===
In terms of the choice of translation strategies, Pai Hsien-yung, as a self-translator, adopts domestication strategy that prioritizes the culture of the target language and does not disturb the readers to the greatest extent, preferring to use language expressions that fit the readers' reading habits. This paper will select the translation of several types of more typical expressions in the translation of ''Taipei People'' to explore the domestication strategy adopted by Pai Hsien-yung in his self-translated work.

===Translation of Colors===
As Pai Hsien-yung (1982: 242) once said, "Chinese women are inexhaustible treasure," and he portrays many classic female figures in ''Taipei People'', the more prominent of which are the wives of several generals and prostitutes. Due to the differences in character traits, status and endings, when describing several female figures, Pai Hsien-yung used rich colors to describe their costumes and accessories in order to make their images more three-dimensional. When translating, Pai tried his best to reproduce the symbolic meaning of these colors in order to make the target readers feel the role of colors in the original text to set off the characters' images.

Example1：“宝蓝配绛红，夫人觉得怎么样？”林小姐抽出一瓶紫红的指甲油来（Pai Hsien-yung 2013: 401）。

“Burgundy to go with the royal blue, what does Madame think?”Miss Lin drew out a burgundy shade（Pai Hsien-yung 2013: 400）.

The lady in this case refers to Madame Hua, an upper-class warlord's wife, who always had some competition with other ladies about appearance, family, and taste. At the same time, Madame Hua is also a person who is particular about beauty, and she always spends much time thinking of and take care of the color of her nails to match the jade and the looseness of her hair styling. The original text uses vivid red and bright blue not only to refer to these two colors, but also to highlight Lady Hua's elegant taste. Burgundy means deep red, which also refers to the famous Burgundy wine in France, and the word itself is pronounced in a long and rhythmic way, so that readers can feel the noble temperament of Mrs. Hua when reading this word. Royal blue corresponds to bright blue, which further emphasizes Mrs. Hua's noble status (Song Shizhen and Wang Hongtao 2017:16).

Example2：尹雪艳也不爱穿红戴绿，天时炎热，一个夏天，她都浑身银白，净扮得不得了（Pai Hsien-yung 2013：41）。

Nor did she care to wear vivid colors. All through the summer, when the weather was burning hot, she dressed entirely in silvery white, looking cool and fresh beyond words（Pai Hsien-yung 2013: 40）.

Yin Xueyan is the main character in the chapter Forever Yin Xueyan, where the word "forever" refers not only to her eternal youth but also to her emotionless mood. As the most popular girl in the Paramount Ballroom, she is a good-looking girl with an indifferent temperament. She is considerate for all the guests, but this is only a means of socializing for her. White, representing Yin Xueyan's indifference, also symbolizes a tribute to her dead lover and her daily life filled with unwillingness. In Chinese, red and green are both bright and vivid colors. The phrase "wearing red and green" here does not refer to wearing red clothes and green jewelry, but rather to "be gorgeously dressed". If "wearing red and green" here is directly translated as wearing red and green clothes, the meaning intended by the original text cannot be correctly conveyed to the target readers. Therefore, Pai Hsien-yung uses "vivid colors" instead, indicating Yin Xueyan's usual plain dress, which is in line with her image.

Thus, when translating words related to color, we should replace the color words in the original text with other color words that have different literal meanings but equivalent functions, so as to avoid misunderstandings caused by cultural differences and retain the clever use of color in the original text.

===Translation of Names===
The names of the characters in the novel are not arbitrarily chosen by the author; they often suggest the character's features, identity and fate, etc., and have certain inspiring effects on the readers (Li Miaoqing 2009: 148). Most of the names of the characters in ''Taipei People'' are related to their images and identities, such as Yin Xueyan and Yue Yuehong. According to Bai Xiangyong, "Translation, especially Chinese to English translation, of names is a problem. Once the name is pinyinized, the meaning is all but lost, not to mention the beauty of the text (Xu Jun 2004: 58-60)." Therefore, in translating names, Pai Hsien-yung mostly abandons the commonly used pinyin form and adopts more translations that correspond to the meaning of the character's name.

In terms of the name Yin Xueyan mentioned earlier, the word "snow" refers to her snow-white skin and snowy appearance (Pai Hsien-yung 2013: 41), and the word "yan" refers to her style in the way she moves her body (Pai Hsien-yung 2013: 43). The transliteration "Yin Hsueh-yen" does not convey the meaning of the name and the author's intention, so Pai translates Yin Hsueh-yen as "Snow Beauty" (2013: 50). "Snow" means snowy and white, which precisely highlights the character of Yin Xueyan. "Beauty" means beautiful, which fits the characterization of Yin Xueyan. At the same time, "Snow Beauty" cleverly borrows the expression of the famous Disney character "Snow White", which can not only arouse the interest of foreign readers, but also present this character image more vividly and concretely to the readers, and at the same time implies the difficult fate of Yin Xueyan.

Another character, Yue Yuehong, is the sister of Madam Qian in the chapter ''A Dream in the Garden'' (Madam Qian is the widow of a Kuomintang general). Yue Yuehong, as her name suggests, has a passionate personality and outstanding looks, but her personality is rather mischievous and therefore not very pleasant. The word Yue Yue Hong itself refers to a kind of Chinese rose, so it cannot be translated in pinyin. In the end, the translators decided to translate the word as "Red-red Rose". The English poet Robert Burns has a famous line often quoted, "My love is like a red red, rose", so the English translation of Yueyuehong has its origin, and there is an overlapping word in English. "Red-red Rose" is a playful word that fits well with the pink flowers that bloom as they fall (Pai Hsien-yung 2013: 179). "Red-red Rose" not only allows readers to associate Yue Yuehong's appearance with the beautiful rose, but also reflects her character, which is like a rose with thorns.

When translating the names of characters with special meanings, Pai Hsien-yung does not simply adopt the pinyin form, nor does he simply pursue great changes in form, but try to align with the culture of the target language and borrow cultural images familiar to readers. In this way, not only do they create the same vivid characters in the translations as in the original works, but they also accurately and completely convey the implied meanings of the names in the original works, and some of them even manage to reach new heights in terms of form and pronunciation rhythm (Xie Lu 2011:158). However, Pai Hsien-yung (2013: 178) also says, "some translators also translate Chinese names by their meanings, and that is not suitable for every Chinese name." Therefore, for many names in the translation, Pai Hsien-yung still retains their phonetic transliteration and uses a combination of free translation to deal with the translation.

===Translation of Traditional Expressions===
Although ''Taipei People'' depicts the lives of a group of "Taipei people" with different identities, in fact these "Taipei people" are mainlanders who went to Taipei for different reasons and come from different provinces or cities in mainland China (Shanghai, Nanjing, Sichuan, Hunan, Guilin, Beiping, etc.). Therefore, in ''Taipei People'', we can read many expressions related to traditional Chinese culture or historical allusions. In translating these particular Chinese expressions, Pai Hsien-yung likewise chooses the translation strategy of domestication in order to make the best connection between the translation and the original (Li Miaoqing 2009: 149).

Example3：“哦，原来是打翻了醋罐子。”金大班笑道（Pai Hsien-yung 2013：203）。

“Aha. So the grapes have turned sour.”Taipan Chin laughed（Pai Hsien-yung 2013：202）.

The origin of "vinegar" here can be traced back to the Tang Dynasty. It said that Fang Xuanling, a chancellor who was highly valued by Emperor Tang Taizong, was very afraid of his wife. One day, Emperor Tang Taizong joked and asked Fang Xuanling's wife to choose between drinking a jar of "poisonous wine" and giving Fang Xuanling a concubine. The wife did not want her husband to have a concubine, so she chose to drink the "poisonous wine", and the jar was actually filled with aged vinegar. After this, the expression "eating vinegar" came into being. In Chinese, it means "jealousy", that is, jealousy of a man and a woman's relationship. However, there is no such meaning in western countries, not to say connecting the original text with "jealousy and envy". Therefore, Pai Hsien-yung chooses to use the customary expression "the grapes turn sour" in English instead to reduce the difficulty for readers to understand when reading, in order to meet the language habits of the target readers.

Example4：“她没有哭泣，可是两片发青的嘴唇却一直开合着，喉头不断发出一阵阵尖细的声音，好像一只瞎耗子被人踩得发出吱吱的惨叫来一般（Pai Hsien-yung 2013：111）。”

"She didn’t cry, but her pale lips were opening and closing, a shrill, small noise kept coming from her throat, as if somebody stepped on a blind mole and it was letting out a dying shriek（Pai Hsien-yung 2013：110）."

The word “瞎耗子” here is not directly translated as "blind rat" or "blind mouse" by Pai Hsien-yung, but as "blind mole". In English, people used to use "blind as a mole" to describe poor eyesight. Because moles are used to hunt at night, the eyes of adult moles are deeply sunken under the skin, and their eyesight is completely degraded, while mice do not have this feature. Therefore, in order to make target readers better understand the content of the original text, Pai Hsien-yung also pays attention to the cultural expression habits of the target language in detail.

Due to the cultural differences between the source language and the target language, when translating words or expressions with distinct cultural characteristics, translators must pay great attention to the impact of these differences. Self-translators, on the other hand, prefer to use the strategy of domestication in order to introduce Chinese culture in the original work to the target readers and to convey the special meaning of particular expressions in the original work, so as to reduce the impact on readers' reading experience due to cultural differences.

===Conclusion===
Lefevere (1992/2006) suggests that "literary techniques, genres, themes, archetypal characters and scenes, symbols, etc." should be reflected in the translation (Lefevere, 1992:34), and gives solutions to a series of specific problems encountered in translation. He believes that the translator should not only be able to translate the semantic information content of the original text, but also convey its "extra-verbal speech act".

After the analysis above, the author finds that fidelity is not only an exact fit to the meaning or form of the original work, but also the interpretation and communication of the spirit of the original work, and the continuation of the life of the original work. Pai Hsien-yung and his co-translators have the most profound understanding of the original text in their translation of ''Taipei People'', and thus make the most fitting interpretation in the translation. For the self-translators, their translation of their own work is not just a simple and rigid translation, but also an interpretation and continuation of the original work in a new cultural context.

Pai Hsien-yung (2013: 29) writes in ''Taipei People'' that he is "determined to move the original Chinese text of this book to the English version as far as possible," a determination that he has as both the original author and the self-translator. Such a dual identity allows Pai Hsien-yung to have both the author's deep understanding of the content and ideas of the original text and the privilege of a special choice of translation strategy and more freedom over the translation as a self-translator. When translating his own works, the self-translator pays more attention to conveying the content of the original work and the culture of the source language than other translators, so the self-translators are not only faithful to the original work, but also hope that the target readers can better understand the original work.

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Zheng Yantong郑艳彤. (2019). 阐释学视角下的白先勇自译研究——以《台北人》为例[A Study of Bai Xiangyong's Self-translation from a Hermeneutical Perspective: Taipei People as an Example][C]. Xi'an International Studies University西安外国语大学.

==英语笔译刘珍 Liu Zhen 202170081588 MW==

<center>'''A Study of Strange Stories From a Chinese Studio from the Perspective of Skopos Theory'''</center>

<center>刘珍</center>

===Abstract===
Liao Zhai Zhi Yi written by Pu Songling is a famous collection of more than 400 peculiar short stories. As a work coming into being at the very beginning of the 17th century when the classical Chinese writing was on the wane, the appearance of Liao Zhai Zhi Yi (or Liao Zhai in abbreviation) injected vigor and vitality into the classical Chinese literature. Among the many foreign translations of this book, the English version named Strange Stories from a Chinese Studio translated by Herbert Allen Giles is the most popular and influential one so far, thus becoming an indispensable part for the study of the English translation of Liao Zhai. At a time that we are calling for Chinese culture going global, as a successful case of Chinese literature work well-accepted by the foreign market, the English translation if sure of high research values and guiding significance. This thesis attempts to take Skopos theory as the theoretical basis, and take Giles’s Strange Stories from a Chinese Studio as the main research object to study the translator’s aims, the choices of translation strategies and the achievement of translation function.

===Key words===
Strange Stories from a Chinese Studio; Herbert Allen Giles; Skopos theory; Reader Expectations

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
The Translation and spread of Su Tong 's works Abroad

<center>'''The Translation and spread of Su Tong 's works Abroad'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
Su Tong is one of the famous contemporary Chinese writers, whose works have been translated into a variety of languages and widely spread abroad. therefore, the writer Su Tong has also become one of the top three foreign translators of novels in China. Based on the present situation of the foreign translation of Su Tong's works, this paper will explore the reasons for the success or failure of its overseas dissemination, and put forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong; Translation； Spread

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译聂薇 Nie Wei 202170081592 MW==

<center>'''Translation of Idioms in Howard Goldblatt's ''Life and Death are Wearing Me Out'''''</center>

<center>Nie Wei 聂薇</center>

===Abstract===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is full of vivid and interesting idioms, which make the language of this novel so unique and characteristic. Howard Goldblatt's translation of this novel has been a great success in the English-speaking world. In the translation of idioms in this novel, he mainly adopts the methods of foreignization and omission, and follows the translation principles of preserving the foreign culture and insisting on semantic correspondence in order to present the heterogeneity of the idioms, so that the Chinese culture contained in the idioms in ''Life and Death are Wearing Me Out'' is well presented to Western readers. His translation provides a more objective platform for Western readers to know the diverse cultures of the world. The study of Goldblatt's translation of this novel can help guide the English translation of Chinese literature, thus providing references for promoting Chinese culture abroad.
===Key words===
''Life and Death are Wearing Me Out''; Howard Goldblatt; translation of idioms; creative treason
===Introduction===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is not considered the best novel in China, but Goldblatt's English translation has received much attention in the English-speaking world, won many international awards, and is even considered one of the most important works for Mo Yan to win the Nobel Prize in Literature. One of the most distinctive features of this novel is its unique language style. Goldblatt’s exquisite translation enables Mo Yan's style to be reproduced, and the strong local flavor and magical realism to be manifested, all of which is an important factor for the success of the English translation of ''Life and Death are Wearing Me Out''. This paper discusses the translation methods and principles adopted by Goldblatt in his translation of the idioms in this book, and analyzes its influence on the dissemination of Chinese culture, so as to provide reference for future translations of Chinese classics. (Shi Chunrang 2019, 94)
===Literature Review===
I searched CNKI with keywords "''Life and Death are Wearing Me Out'' and translation" (searched until May 29, 2022) and found 355 related papers. These papers analyzed the translation methods, strategies and Goldblatt’s translation style of ''Life and Death are Wearing Me Out'' from different perspectives, such as relevance theory, Bourdieu’s theory of field, Reception Aesthetics Theory, eco-translatology, translation aesthetics, the post-colonialism perspective, rewriting theory, translation ethics, hermeneutics and translators' subjectivity.

Among them, there are five papers related to the study of proverbs ( idioms). Wang Yiting and Lin Mei point out that Goldblatt mostly uses literal translation to translate idioms in the linguistic dimension, chooses both literal and free translation in the cultural dimension, and uses rewriting in the communicative dimension. Liu Geng and Lu Weizhong, with the help of conceptual metaphor theory, point out that the English translation of the idioms in ''Life and Death are Wearing Me Out'' has certain translator's subjectivity, and the translator's metaphorical way of thinking affects the use of different translation strategies. Ye Pingting, based on the cultural translation view, uses the idioms in Goldblatt’s version as a corpus to explore how translators effectively convey cultural information. Chen Qiansa analyzes the use of idioms and their translation methods in this novel based on the Chinese-English parallel corpus. Shi Chunrang and Shi Yan analyze the role of idioms in ''Life and Death are Wearing Me Out'' in constructing the "image of the other" for Western readers, as well as in deconstructing the cultural psychology of western readers.

The study of idioms’ translations in Goldblatt's version includes both case studies, in which a single idiom is selected for discussion, and quantitative analyses supported by definite statistics. This paper provides an overall study of the methods and principles of translating idioms, and suggestions for improvements to the mistranslations in Life and Death are Wearing Me Out, so as to provide a reference for the English translation of Chinese literary works in the future.
===Methods and Theories===
This paper focuses on the study of Goldblatt’s translation based on Venuti's theory of domestication and foreignization and the concept of creative treason.

Lawrence Venuti firstly formulated and introduced the theory of domestication and foreignization in the book ''The Translator’s Invisibility''. According to Venuti, domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target readers, while foreignization refers to the type of translation in which a target text deliberately breaks target conventions by retaining something of the foreignness of the original.

The domestication method can express the language and culture of the source language with the language and culture familiar to the target language readers, and the translation is fluent and easy to read and accepted by the readers, but the "domestication method" tends to distort the facts of the original text, which is not conducive for the target readers to feel the "exoticism" of the foreign culture. On the other hand, the "foreignization method" can better maintain the style of the original text, convey the author's original intention, and let the target language readers truly feel the difference between the two cultures, but the disadvantage of it is that the translation may be obscure and difficult to understand, and may sometimes make the readers have cultural misunderstanding. (Zhu Zhouxain 2013,155)

Professor Xie Tianzhen published a book entitled ''Translation Studies'', in which he elaborated on the creative treason in literary translation in depth. In his book, he clearly pointed out that "the most fundamental characteristic of creative treason in literary translation is that it introduces the original work into a receptive environment that the original author did not originally anticipate, and changes the form originally given to the work by the original author."

Due to the specific differences in social, historical and cultural factors between the source language and the target language, the translator will certainly make appropriate and comprehensive "adjustments" to the specific differences in semantics between the two languages in different contexts during the whole process of translation. These "adjustments" are, on the surface, a "treason" against the original work, but it is not the translator's trampling on the original work at will, but the translator's attempt to make the translation convey the same meaning as the original work in the translated language environment. (Zhang Liyun 2019,141)

===1.Idioms in ''Life and Death are Wearing Me Out'' and their characteristics===
Idioms are simple and concise folk languages that are widespread and easy to understand. Most of them are short sentences that are transmitted orally by the laboring people, reflecting their experiences in production and life vividly. Idioms contain a great deal of background information and culture, and it is a form of language that has been developed over a long period of historical development and real life.

''Life and Death are Wearing Me Out'' is filled with lively and amusing idioms that bring uniqueness and vitality to the novel's language. This novel tells the story of joys and sorrows experienced by the landlord Ximen Nao’s family and the farmer Lan Jiefang’s family for more than half a century. The theme of the novel is closely related to the farmers and the land, which of course requires the use of a large number of idioms to narrate the story. (Shi Chunrang 2019,94)

Clearly, the idioms in this novel are diverse in form and peculiar in presentation. For example, when the donkey reincarnated from Ximen Nao bragged about being favored by the county chief, it said, "人们都知道，侍候好了县长的驴，就会让县长格外高兴。拍了我的驴屁，就等于拍了县长的马屁。" The translation is "Everyone knew that taking special care of the county chief's donkey made him very happy. Patting my rump was equivalent to patting the county chief's behind with flattery." Here cleverly, the common saying "拍马屁" in people's daily life is used as “拍驴屁”, which highlights the identity of the donkey, and also vividly and humorously depicts the complacency and arrogance of the donkey, while expressing its contempt for those who strive to curry favour with people in authority.

In addition, when the ghosts in the hell sneered at Xinmen Nao, they said, “猫改不了捕鼠，狗改不了吃屎”. The translation is “You can’t keep a cat from chasing mice or a dog from eating shit.” The language, though vulgar, is very common in people’s daily life and fits the overall style of the novel.

This kind of linguistic style is both traditional and innovative, both unbridled and unrestrained, and is highly effective for shaping the characters and plotting.
===2.Goldblatt’s translation methods of idioms in ''Life and Death are Wearing Me Out''===
(i) Foreignization

The method of foreignization is to deliberately make the translation violate the conventional linguistic models in target language and retain the exotic atmosphere of the original text, with the aim of "injecting the linguistic and cultural differences in the foreign text into the target language, sending the readers abroad" and providing them with an "unprecedented reading experience”. Goldblatt deliberately uses the method of foreignization to translate idioms in this novel.

Specifically, Goldblatt tries to convey the heterogeneity of idioms in the original text in the following ways.

First, he tries his best to show the target readers the meaning of Chinese idioms that is unique to China and not available in the Western culture. After all, idioms are developed in the production and life experiences of different peoples. Therefore, Goldblatt chooses literal translation whenever possible.

For example, “你是煮熟的螃蟹难横行了，你是瓮中之鳖难逃脱了” is translated into “You’re a cooked crab that can no longer sidle your way around，a turtle in a jar with no way out”. “瓮” is a unique Chinese utensil with rich Chinese cultural information. The image of "瓮" is missing in the English-speaking world. Therefore, he borrows the familiar apparatus "jar" from English to translate it, which is roughly similar to "瓮" in appearance. This translation uses an alternative image to convey the message of the original text, which reduces the connotative information of the original idiom but makes it easier for the target readers to understand the essential message of the idioms.

Second, for some idioms, Goldblatt translates them by literal translation with annotation. The literal translation is of course for presenting the original message of the idioms to the target readers, while the annotation is to help the readers better understand the essential message of the idioms, because some of them have complex metaphorical messages, so annotation is essential for understanding.

For example, “兔死狐悲，物伤其类” is translated into “When the rabbit dies，the fox grieves, for his turn will come.” This annotation “ for his turn will come” clearly illustrates the message of the original idiom and removes any confusion about why the fox grieves for the rabbit’s death. With annotation, the connotative meaning of the idiom becomes clearer.

Third, for some idioms that have exact equivalents in the target language, the translator deliberately translates them with explanatory literal translations instead of copying the idioms in the target culture. For example, “入乡随俗” is translated into “When you come to a new place，learn the local customs and follow them” rather than “When in Rome, do as the Romans do” in English. Obviously, the use of semantic equivalents of idioms in the target language cannot translate the information conveyed by the original context. An explanatory literal translation approach can help target readers better understand the plots of the novel and increase their interest in reading it. (Shi Chunrang 2019,95)

(ii) Domestication

Sometimes we may find that the Chinese idioms don’t have equivalents in the target language, so they can be translated through free translation, which means we can follow the principle of domestication by borrowing existing expressions in the target language, thus making the translation closer to the reading habits and cognition of the target readers. In Goldblatt's translation of idioms in ''Life and Death are Wearing Me Out'', about 30% of those idioms are translated through free translation. (Chen Qiansa, 2019,108)

For example, “洪泰岳你出口无信，食言而肥” is translated into “Hong Taiyue，your words meant nothing, you did not make good on your promise”. In this sentence, “食言而肥” and “出口无信” mean the same thing: not to keep one’s word. These two idioms came out of ''The Commentary of Zuo''. It is not possible for the translator to translate the allusions behind each idiom, which would result in a lengthy and unclear translation. So Goldblatt uses a phrase with similar meaning to express the idioms “食言而肥” and “出口无信”. He borrowed from the English idiom “not make good on your promise” and delivered an authentic translation cleverly.

Due to the differences between the English and Chinese languages and between Eastern and Western cultures, the “treason” of the original text in literary translation is inevitable. For example, in the novel ''Life and Death are Wearing Me Out'', there are many epithets such as "爷们" and "伙计", which are difficult to translate into English with full equivalence, and Goldblatt's creative "rewriting" of them also reflects his unique translation ideas. For example, according to different contexts, “伙计” is translated into “gentleman” “buddy” “old friend”; according to the specific meaning of the sentence, “掌柜的” is translated into “you are the head of the household” “my husband” “the old gentleman” “sir” and so on. (Zhang Qi 2019,329)

Although the domestication method changed the images or structure of the original sentence, Goldblatt's translation better conveys the original author's intentions and can be deemed as a kind of fidelity from a deeper level.

(iii) Omission

Omission means that the idiom is not translated from the original text. There are two kinds of idioms that Goldblatt did not translate. The first one is those idioms that contain distinctive local culture, which cannot adequately convey the content of the novel in the target language. For example, “我这哥，惯常闷着头不吭声，但没想到讲起大话来竟是‘博山的瓷盆——一套一套的’ ” is translated into “He was normally not much of a talker, so everyone was taken by surprise. To be honest, it turned me off.” The idiom “博山的瓷盆——一套一套的”(which means a set of porcelain pots from Boshan) has been omitted here because it contains an item known only to a small group of people, and the message it implies is so unique and unnecessary that the translator chose to omit it. (Shi Chunrang 2019,95)

In addition, Goldblatt chose to deliberately omit some idioms, such as “西游记”“小妖红孩儿”“封神演义”“哪吒”“天山童姥”. Because in his mind, "capturing the style, rhythm and imagery of the original work is the real task and challenge for the translator”. Omitting those idioms makes the storyline more compact and the language more straightforward and easily accepted by the target readers. (Zhang Qi 2019,329)

Second, some idioms that serve to add explanatory information and vividness to the original text are also often deleted by Goldblatt. For example, "出水才看两条腿" and "咱们骑驴看账本，走着瞧! " and other similar proverbs are omitted.

On the whole, however, the idioms in ''Life and Death are Wearing Me Out'' are very important for the novel’s general language style. Therefore, there are not many cases where the translators leave idioms untranslated.

(ⅳ) Mistranslation

In Xie Tianzhen’s article ''Mistranslation: Misunderstanding and Misinterpretation in Different Cultures'', he divides mistranslation into two types, namely intentional mistranslation and unintentional mistranslation. Intentional mistranslations are those in which the translator chooses to consciously misinterpret the meaning of the original text for some reason. Unintentional mistranslations can be divided into three types which are caused respectively by carelessness, poor linguistic skills and lack of knowledge of the cultural background of the original language. (Zhang Sen 2016,111)

Intentional mistranslation closely reflects the translator's creative treason and is also a major manifestation of the collision, distortion and deformation between cultures in literary and cultural exchanges. Therefore, this paper focuses on the current situation of intentional mistranslation in Goldblatt’s translation of ''Life and Death are Wearing Me Out'', and reveals how translators creatively fill the gaps between different cultures. (Zhang Liyun 2019,143)

For example, “……让老婆孩子吃糠咽菜的守财奴” is translated into “…made his wife and kids eat chaff and rotten vegetables”. The original text intended to use the idiom "吃糠咽菜" to depict the poor life of them, but in the translation it is translated into "eat chaff and rotten vegetables". In the original text, the word "菜" means "wild edible plants", because in the old days, Chinese people who could not afford to eat vegetables often used wild plants to fill the belly. But in the English version it is translated as "rotten vegetable". Why? Because with the improvement of people's livelihood, "wild edible plants" have become a delicious delicacy for people in both the East and the West. Therefore, in order to tell the target readers about the poor life of those people, he translated "糠咽菜" into "chaff and rotten vegetables", which makes it easier for the readers to accurately capture the meaning of the original text.

The translator plays an important role in this process, and the translator's personalized translations, mistranslations and omissions reflected in the translations are all manifestations of the translator's creative treason.
===3.Goldblatt’s principles for translating idioms===
(i) Preserving the culture of the original language

Generally speaking, idioms have deep semantic connotation and vividly reflect the material and spiritual culture with local characteristics. Therefore, when translating idioms, we should try to understand the deeper connotations of them and to express them clearly. By researching, communicating with the author and other methods, Goldblatt managed to understand the essential meaning of the idioms, their historical roots and the context in which they are used, so as to truly grasp their precise meaning. (Shi Chunrang 2019,97)

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopts the methods of foreignization and omission, so we can say that the principle he follows in translation is that of preserving the culture of the original language. He tries to highlight the heterogeneity of the original proverbs through literal translation, to reveal the uniqueness of Chinese culture, and to help Western readers understand the life experience of the Chinese people attached to the idioms through annotations.

Due to the cultural status of Europe and America, cultural differences and the marginal position of translated literature in the European and American literary world, European and American translators often choose to translate other countries' literary works by means of domestication, and the translation of ''The Story of the Stone'' by David Hawkes is an example of the use of domestication strategy. However, cultural hegemony and cultural colonization have led a group of translators with a sense of mission to choose a translation strategy that preserves the style of the original work, which is called foreignization.

The contradiction is obvious: the translator wants to preserve the taste of the original work, but the reader's difficulty in understanding the language and structure of the vernacular novel requires the translator to make concessions in the translation. Goldblatt's approach to translation reconciles this contradiction to a certain extent. He tries to strike a balance in the translated work so that it can be accepted by Western readers. (Tian Debei 2016,91)

(ii) Semantic correspondence

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt not only tries to reproduce the meaning of the idioms in the target language, but also strives to achieve an overall semantic correspondence between the proverbs and the context in which they are found. He helps to make the text more logical and readable by adding explanatory phrases, explicitly stating the implied meaning or adding connecting words. In achieving semantic correspondence, he tries to make the translation as close to the original text as possible, without adding or subtracting anything, and without creating ambiguity. In terms of choosing words, he tries to be as concise and appropriate as possible; in terms of sentence construction, he tries to achieve a sentence style that reflects some of the features of the original but is also in keeping with the conventions of the target language. (Shi Chunrang 2019,97)
===4.Implications of ''Life and Death are Wearing Me Out'' for the English Translation of Chinese Literature===
As mentioned above, guided by the principle of personalized translation, there is 'fidelity' in translating the idioms in ''Life and Death are Wearing Me Out'', as well as creative treason and omission of the original text. It can be seen that Goldblatt is not bound by the traditional dichotomy of literal translation and free translation. The language of his translation is authentic and fluent, reading like an original English novel but conveying exotic cultural imagery.

Goldblatt insists on translating for his readers, so he was selective in his translation strategies in order to make exotic Chinese literature accessible to western readers, thus allowing excellent literature to enter the field of foreign translated literature and achieving the effective dissemination of Chinese literature.

Compared with Western culture, Chinese culture is still in a disadvantaged position in the world cultural landscape. Therefore, if Chinese literature wants to “go global”, translators must take into account the special cultural background and general readers' acceptability.

Goldblatt’s choice and application of translation strategies carries with it the translator's subjectivity, and under the guidance of such translation principles, his translations meet both the literary standards of the Western world and the expectations of the Western readers for Chinese literature. (Zhang Qi 2019,330)

Whether Chinese literature has done a good job in “going global” is not only judged by the accuracy of their translations, but also by how well they are received by foreign readers. The difference between Chinese and Western cultures have resulted in readers’ different preferences for literary themes, so Goldblatt has paid great attention to the tastes of Western readers when selecting books he was going to work on, so that his translations can be better accepted by them. However, the mistranslation in his version has led to a deviation from the original Chinese works.

Compared with Chinese translators, Sinologists have a strong linguistic background, but their knowledge reserve of Chinese culture is still insufficient. So the best mode of translation is a kind of Chinese-foreign collaboration, in which the Chinese translators deal with the cultural challenges while the sinologists do the linguistic touch-ups, in order to ensure the integrity of Chinese culture in the West, and to achieve both fidelity to the original work and increased acceptance abroad, thus achieving success in the translation of Chinese culture. (Zhang Sen 2016,115)
===Conclusion===
In translating idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopted the strategies of literal translation (39.2%) and free translation(30.3%), supplemented by omissions, additions and borrowings, with a few mistranslations (about 10 cases). It is evident that he tends to retain the cultural image of the idioms in the source language, and tries not to add or delete; however, when those images in the source language don’t have equivalents in the target language, he will be bold enough to adopt free translation, so as to maintain the readability and fluency of the translated work. In the translation process, he stays true to the connotation of the text rather than the literal meaning, and stays true to the target readers rather than the readers of the source language. (Chen Qiansa 2019,110)

This helps us to reveal Goldblatt's faithful translation and reader-consciousness. In conclusion, in the process of translation, translators should preserve the style and image of the idioms in the original text as much as possible, so as to spread Chinese culture and enrich the English vocabulary; at the same time, they should take into account the readability of the translated work and adopt various translation approaches to deal with the Chinese idioms.

Goldblatt not only makes the message conveyed by the idioms and the proverb-rich language style of ''Life and Death are Wearing Me Out'' well presented to Western readers, but also makes them easily understood and accepted by Western readers. The translator does his best to spread Chinese culture and respect the culture clash between different cultures. His translation dares to face up to the cultural differences between China and English-speaking countries, and uses a unique translation method to strongly promote Chinese literature and culture to the Western world, which achieved good results, and also provides some useful references for us to do a good job in promoting Chinese culture to go abroad.

Therefore, we should not only consider the needs of Western readers at the expense of the dissemination of our own distinctive culture, instead, we should take the promotion of our own culture as our responsibility and take into account the reading needs of Western readers. The successful translation of idioms in Mo Yan’s novels is a good case in point. In the exchange between Chinese and foreign cultures, the translation of idioms in Mo Yan's novel adheres to the idea of faithful translation and mainly adopted foreignization, fully demonstrating the traditional Chinese culture with strong national flavor and distinctive regional characteristics, which is an important inspiration for the dissemination of Chinese culture today.
===References===
*Mo Yan 莫言. (2011). Life and Death are Wearing Me Out. tans. by Howard Goldblatt. New York: Arcade Publishing．
*Venuti, L. (1995). The translator’s Invisibility: A History of Translation. London and New York: Routledge．
*Xie Tianzhen 谢天振.(2012).创造性叛逆:争论、实质与意义[Creative Treason: Controversy, Substance and Meaning].''中国比较文学''Comparative Chinese Literature (2):33-40．
*Zhang Qi张琦.(2019).“创造性叛逆”:莫言《生死疲劳》英译特点及启示[Creative Treason: Characteristics and Insights of the English Translation of Mo Yan's “Life and Death are Wearing Me Out”].''上海理工大学学报''Journal of Shanghai University of Technology (04):327-330+337.
*Zhang Liyun, Wu Qingjuan张丽云,吴庆娟.(2019).创造性叛逆与葛浩文《生死疲劳》英译本的译介[Creative Treason and Goldblatt’s Translation of “Life and Death are Wearing Me Out”].''齐齐哈尔大学学报''Journal of Qiqihar University (10):141-143+172.
*Wang Yiting, Lin Mei王怡婷,林梅.(2014).翻译适应选择论视角下《生死疲劳》的习语翻译[The Translation of Idioms in "Life and Death are Wearing Me Out" from the Perspective of Translation Adaptation Selection Theory].''常州大学学报''Journal of Changzhou University (04):100-102+106.
*Shi Chunrang, Shi Yan石春让,石岩.(2019).葛浩文译《生死疲劳》中谚语的文化建构与解构[The Cultural Construction and Deconstruction of Idioms in Goldblatt's Translation of “Life and Death are Wearing Me Out”].''外国语文''Foreign Literature (01):94-99.
*Zhang Sen, Zhang Shijin张森,张世瑾.(2016).葛译《生死疲劳》中的误译现象与中国文化译介策略[Mistranslation in Goldblatt's Translation of Life and Death are Wearing Me Out and Strategies for Translating Chinese Culture].''河北大学学报''Journal of Hebei University (05):111-116.
*Liu Geng, Lu Weizhong刘庚,卢卫中.(2016).汉语熟语的转喻迁移及其英译策略——以《生死疲劳》的葛浩文英译为例[The Metonymic Migration of Chinese Idioms and Their English Translation Strategies - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''外语教学''Foreign Language Teaching (05):91-95.
*Chen Qiansa陈千飒.(2019).基于语料库的《生死疲劳》熟语英译研究[A Corpus-based Study on the English Translation of the Idioms in "Life and Death are Wearing Me Out”].''重庆交通大学学报''Journal of Chongqing Jiaotong University (01):105-111.
*Zhu Zhouxian朱周贤.(2013).论乡土小说翻译的难点——以葛浩文英译的《生死疲劳》为例[On the Difficulties of Translating Rural Literature - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''作家''The Writers (14):155-156.
*Tian Debei, Zhan Xuanwen田德蓓,詹宣文.(2016).入乡未能随俗:论葛浩文译《生死疲劳》的乡土气息[On the Local Flavor of Goldblatt's Translation of “Life and Death are Wearing Me Out”].''东北农业大学学报''Journal of Northeast Agricultural University (01):88-92.

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

<center>'''An Analysis of English Translation of Luotuo Xiangzi from the Perspecctive of Rewriting Theory'''</center>

<center>Sun Lijun</center>

===Abstract===
Traditionally, translation is regarded as a kind of linguistic conversion, which means translating the source text from one language into another. And with further and deep study of translation, Bassnett and Lefevere went beyond the level of language, focusing on the mutual interaction between translation and culture, and the influences and restrictions of culture on translation. Therefore, the move from translation as text to translation as culture and politics is termed as the cultural turn. Rewriting Theory, proposed by Lefevere, is the representative fruit of the translation studies on culture, exerting profound influence on academia. Rewriting Theory shows that translation is regarded as rewriting, which is mainly constrained by the dominant poetics, ideology and patronage under certain backgrounds.
Luotuo Xiangzi, writtten by Lao She in the year of 1939, is one of the representative masterpieces of Chinese classics, gaining great popularity both at home and abroad since its first English version, translated by the American translator Evan King in 1945, came out. And this translated text obtained great success in America, which establishing Lao She’s reputation as a writer in the international literary circle. However, due to the inequivalence to the source text, Evan King’s translated work invited some critics from Chinese scholars even unsatisfied the original author Lao She himself. Thereafter, this short essay will briefly analyze the translation of Luotuo Xiangzi by Evan King from the perspective of Rewriting Theory, trying to find out the influences the dominant poetics, ideology and patronage exert on translation.

===Key words===
Luotuo Xiangzi; rewriting theory; translation

===Introduction===
As is known to all, translation is a kind of special and creative activity carried out in a certain context. And it is influenced by some certain activities of the society at one hand, while on the other hand, translation is also restricted by some factors of the works and the writers themselves. In a word, translation plays an essential and pivotal role in communicating and exchanging ideas in this global village. And with further cultural exchanges, some foreign masterworks have been introduced into China, broadening people’s horizon and enriching their daily life and spiritual life in China; also, some Chinese classics have been translated abroad and made foreign friends get a better understanding of Chinese culture. As one representative work of Chinese modern classics, Luotuo Xiangzi has been translated into several versions by some famous translators at home and abroad, including Evan King’s Rickshaw Boy, Jean M.James’ Rickshaw: The Novel Lo-t’o Hsiang Tzu, and Shu Xiaojing’s Camel Xiangzi. And due to the three English versions translated aboard, Luotuo Xiangzi turned out to be a huge hit as soon as it was published. However, as the first translated version in English, though wildly welcomed among American readers, it invited some terrible criticism made by the Chinese literary circles for Evan King broke the rule of equivalence and he did a lot of rewritings. Throughout the history of translation, we can tell that being true to the original text is of paramount importance no matter from the “faithfulness, expressiveness and elegance” proposed by the famous Chinese scholar Yan Fu or the “dynamic equivalence” or “functional equivalence” initiated by Eugene A. Nida. However, those translation theories concentrate on the source-text-oriented methods and techniques, paying much attention to how to translate the original text faithfully into the target text, which represents a kind of static status and mainly focuses on the linguistic level. However, as the march of translation studies, some scholars have studied translation approach from the perspective of culture, attempting to put translation into a larger context. Thus translation studies was labeled with cultural turn from then on. And the polysystem theory and rewriting theory were representatives in this regard. Taking the dominant poetics, ideology and patronage into consideration, Lefevere’s rewriting theory then exerted profound influence in the later translation studies, providing a brand new viewing angle for individuals who engage in the translation studies. Given the Evan King's translated version, it is of terrific significance to explore the underlying reasons why Evan King did a lot of rewritings to Lao She's Luotuo Xiangzi on the framework of Lefevere's rewriting theory.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译仝雨梦 Tong Yumeng 202170081594 MW==

<center>'''A Comparison of The Analects Translated by James Legge and Ku Hungming'''</center>

<center>Tong Yumeng</center>

===Abstract===
Confucius is a great thinker and educator in ancient China, the founder of the Confucian school, and one of the world's most famous cultural figures. As the only book recording the sayings and discourse between Confucius and his disciples, The Analects is a classic of Confucianism as well as of Chinese civilization. Up to now, there have been nearly forty English translations of The Analects, which indicates the importance of this work in China and western countries. This paper mainly focuses on two English translations of The Analects published in 1861 and in 1898 respectively. One is translated by James Legge, a Scottish protestant missionary of London Missionary Society. The other is the translation of Ku Hung-Ming, an extreme cultural conservative and a strong advocate of Confucianism at the turn of the 19th and 20th centuries. By comparing the two English translations, the paper tries hard to trace back their translating processes, find out the criteria used in interpreting the original text, and summarize the strategies adopted to resolve cultural conflicts in translation. Besides adopting the traditional translation theories, this paper conducts its investigation from the perspective of functionalist "skopos theory" and theories of Lefevere. At last, the paper also mentions the influence of the two English versions of The Analects and the images of Confucius they have helped construct.

===Key words===
Confucius, Legge, The Analects, English Translation

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译童略雅 Tong Lueya 202170081595 CE==

<center>'''A Brief Analysis of Reading Strategies of Chinese Classics in a Digitalization Era'''</center>

<center>Tong lueya</center>

===Abstract===
With the rapid development of the society and the in - depth application of science and technology, people’s traditional production and living habits have been gradually changed. And their reading habits, reading time, reading preferences and reading content have also shown new characteristics. Especially with the mature application of science and technology such as Internet, intelligent handheld device, cloud computing, big data and so on in various fields, the reading mode of readers has gradually changed from systematic reading to fragmented reading. Classic works are the crystallization of human civilization. Reading classic works is of great significance to individual growth and social development. It cannot be overemphasized to promote classic reading. This paper analyzes the status of classic reading in a digitalization era, and then attempts to put forward some suggestions in classics reading. In this way, it hoped that people could realize the significance of reading classics and then form good habits to reading them.

===Key words===
Classics reading; strategies; digitalization

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译庹树梅 Tuo Shumei 202170081596 MW==

<center>'''The Cantonization of the Dream of Red Mansions'''</center>

<center>庹树梅</center>

===Abstract===
As a treasure of Chinese literature and an important source of cultural confidence for the Chinese nation, Dream of the Red Chamber has been disseminated in the English-speaking world for two hundred years. Under the multiple views of traditional historiography, neo-Hanology, neo-history and neo-Songology, Dream of the Red Chamber has been transformed from a "historical text" to a "classic text" and has undergone an evolutionary path from an academic research classic to a literary classic and then to a cultural classic. The first chapter of this paper discusses what classicization is. The second chapter discusses why Dream of the Red Chamber has become a classic work and analyzes its intrinsic literary value. The third chapter discusses the impact of the classicization of Dream of the Red Chamber on the influence of Chinese culture in the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译王思琪 Wang Siqi 202170081597 CE==
A Study on C-E Translation of The Book of Songs from the Perspective of Xu Yuanchong’s Theory of Three Beauties

20220630 Classics 3

2022-07-02T10:58:14Z

Liu Yao: /* References */

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==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Study on the Canonization of Chinese Modern Poetry'''</center>

<center>Liu Ting</center>

===Abstract===

It has been more than a century since the birth of Chinese Modern Poetry, also known as the new poetry. As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to Chinese ancient poetry and songs, which have a long history and cultural accumulation. So, its canonization has always been the common concern of writers, scholars and researchers. In any country, canonization of any literary work is a long and complicated process in terms of time and mechanism. The canonization of new poetry has rich texture in the synchronic and diachronic aspects of literary history. This paper analyzes the essential characteristics of the so-called "classic" works and points out the problems faced by the canonization of new poetry and only by solving these problems can the canonization of Chinese modern poetry be put on the right track.

===Key words===

Chinese modern poetry, canonization, classic work

===1. Introduction===

Chinese Modern Poetry, also known as the new poetry, refers to the poetry genre that emerged around the May Fourth Movement, which is different from the Chinese classical poetry and uses vernacular when it is composed.

During the development of Chinese literature, poetry, including Han Fu, Tang poems, Song Ci, Yuan Qu, had achieved great successes. However, in modern times, the creation of classical poetry gradually became rigid, using lots of clichés, and the words used in classical poems were seriously disconnected from modern spoken language. The strict restrictions on the form including the verse style, rhyme, allusions etc., were a great constraint on poetry's ability to express the ever-changing and increasingly complex social life and to express people's true thoughts and feelings. Therefore, the new poetry revolution became the first and most important part of the New Literary Movement in the May Fourth period.

As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to the old poetry and songs, which have a long history and cultural accumulation. But with its freedom, flexibility, and versatility, new poetry has maintained its creative vigor and vitality over the past century. From form to content, from creation and dissemination to influence, new poetry can be said to be relatively complete, vigorous and uncompromising.

The issue of literary classics and the canonization of literary works is a hot issue that has always been of concern to academics. In terms of the classical quality of poetry, the power that new poetry has contributed to the history of Chinese poetry over the past century should not be underestimated. As far as the century of Chinese new poetry is concerned, the modern new poetry classics and the rationality of their canonization have been gradually recognized in recent studies, while the issue of its canonizaton is quite controversial. Canonization is actually a process rather than a result. Many scholars have doubts about whether "Canonization" of new poetry is a valid term, because the time of generation and development of them is still short compared with that of Chinese classical poetry, and "classics" must go through layers of elision by years and readers, and through the heavy burden of generations. The reason is that the generation and development of contemporary new poetry is still short compared to that of modern new poetry, and the "classics" must go through the test of time. Of course, this is the general understanding of the generation of classics, but while seeing the ephemeral nature of the generation of "classics", we should also see the commonality of the generation of them.

By clarifying the defining characteristics of Chinese new poetry and classic works, this paper points out the difficulties and misunderstandings encountered in the canonization of Chinese new poetry today, and only by solving these problems and breaking these misunderstandings can the canonization of Chinese modern poetry be put on the right track.

===2. Chinese Modern Poetry===

To solve the problem of canonization of Chinese modern poetry, first and foremost, it is necessary to have an understanding of it. This chapter introduces the development of new poetry, its representative figures, the literary characteristics of poetry and its achievements.

2.1 Development of Chinese Modern poetry

Compared with drama, novel and prose, the century-long development of Chinese modern poetry is relatively weak. Novel and prose, after all, still has Lu Xun, Ba Jin and Lao She; drama has Cao Yu, Lao She and; all these writers have been recognized by the world. Poetry, on the other hand, lacks such figures. New poetry faces two peaks that are difficult to surpass: one is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare. The existence of poetry requires the existence of a refined and mature national language, and poetry is most closely connected to language, while modern Chinese has only been existed around for a century. Nevertheless, achievements of Chinese modern poetry are remarkable. The most important development stage of it was the first thirty years after its birth.

2.1.1 The first decade

At the experimental stage, Hu Shi was regarded as "the first vernacular poet." His Trying Collection (1920) was "a bridge” between the old and new poetry. Individual poems at this time had modern lyrical forms, but most of them still could not escape from the formal tradition of classical poetry. The techniques of the new poetry were firstly, "line drawing" and secondly, metaphorical symbolism. The early vernacular poems are thus divided into two categories: the first is the objective realistic tendency of using white description; the second is the modernist tendency of putting things into context. The latter is not common in traditional poetry.

At the foundational stage, Guo Moruo's "Goddess" (1921) was the foundation of Chinese new poetry. The lyrical nature of poetry and the individuality of it were given full attention and play, and the strange and daring imagination really made the wings of poetry soar. " The free spirit of the May Fourth Era and the artistic rules of poetry itself are fully reflected in this collection.

At the normalization stage, if "Goddess" broke the traditional poetic rules with the spirit of "absolute freedom and absolute autonomy", the New Moon School was born in response to the need, with Wen Yiduo, Xu Zhimo, Zhu Xiang and Lin Huiyin as its representatives, advocating "rational moderation of emotions". " Wen Yiduo advocated the metrical and standard patterns of the new poetry and proposed the theory of "three beauties" of poetry: music beauty (level and oblique tones and rhyme), pictorial beauty (the theory that Chinese poetry and painting are connected), and architectural beauty (proportionality of stanzas and evenness of sentences).

2.1.2 The Second Decade

The Chinese Poetry Society was a mass poetry group led by the Left League, inheriting the early proletarian poetry tradition of Jiang Guangci from the previous decade, with Yin Fu as its representative. The characteristics were: first, reflecting the revolutionary struggle and major events of the times; second, emphasizing the ideologization of poetry, the subject of poetry was not the poet himself but a fighting collective; third, focusing on realism in artistic expression. This somewhat deviated from the essence of poetry, which is the catharsis of individual's emotions.

In the later period, the poems of the New Moon School shifted the focus of their lyricism to the "trembling of the soul" and the alienation of the modern human spirit. Xu Zhimo's "Collection of Fierce Tigers" and "Collection of Cloudy Travels" are representative of this. "Farewell to Cambridge Again" belongs to this period, but its mood is still a remnant of the previous one. New poets, such as Chen Mengjia and Fang Wei De, were students of Xu Zhimo. And the poetry at this period, borrowed the form of sonnets.

Shi zhe was another poet at this period. He emphasized the need to write purely modern poetry, which is genealogically related to the early Symbolist poetry and used modern rhetoric to arrange modern poetic forms. The "leaders of the poetry world" at this time is Dai Wangshu and Bian Zhilin. Dai Wangshu was known as the "Rainy Lane Poet" with his poem "Rainy Lane". Bian Zhilin, on the other hand, was influenced by Xu Zhimo and Dai Wangshu, and provided something new to the new poetry, namely, a shift from the main emotion to the main intellect. He was one of the poets in the history of new poetry who was consciously philosophical, and his poetry was surprising in its simplicity because he was good at penetrating and exploring the phenomena of daily life philosophically.

2.1.3 The Third Decade

Ai Qing accomplished the task of "synthesis" in the history of Chinese poetry. On the one hand, he insisted on developing the realistic and fighting tradition of the poets of the Chinese Poetry Society, on the other hand, he overcame and abandoned their weaknesses of "childish shouting", and at the same time, he critically absorbed some of the achievements of the modern poets in their artistic exploration of new poetry, further enriching and developing the art of poetry. He drew on the passion of Guo Moruo and the pursuit of external forms of the New Moon School, and Ai Qing began to pursue an inner beauty in Chinese new poetry. He became the most influential poet of the third decade. He was also one of the first new Chinese poets to go global.

At the beginning of the war, the Chinese Poetry Society, the New Moon School, and the Modernist poets all sang the battle hymn of national liberation. During the war period, the debate over the aesthetic and artistic characteristics of poetry and political propaganda brought people to a new level of understanding of the content and form of poetry. There were many academic works that raised the artistic discussion of new poetry to a theoretical level: Ai Qing's "Essay on Poetry", Zhu Ziqing's "Miscellaneous Discussions on New Poetry", Li Guangtian's "The Art of Poetry", and so on. Zang Kejia wrote "Songs of the Clay" and Dai Wangshu wrote "Years of Catastrophe", and there was a transformation of style, integrating the "small self" into the "big self". The most influential poetry school during this period was the July Poetry School. Under the influence of Ai Qing, this school of poetry was formed by Hu Feng as the center, with July and other publications as the main base. It advocated revolutionary realism and free verse as its main banner, and had a great influence in the National Unification Area.

After the end of the war, the new poetry took on a new life. In literary history, the Nine Poets school led by Mu Dan are known as the "New Chinese Poetry School". They emphasized, first, the modernization of the way of thinking about poetry. The second was the extreme importance attached to the application of everyday language and the rhythm of speech. "Only words and rhythms that are varied, flexible, fresh, and vivid can properly and effectively express the strange sensitivity of the modern poet's senses and the rapid changes in his thoughts." The emphasis on the basic transformation of poetic thinking and language, which characterized the Chinese New Poetry School, also concentrates on its rebelliousness and heterogeneity, which precisely echoed the claims of early vernacular poetry in a distant way.

2.2 Value of Chinese Modern poetry

The value and significance of modern Chinese poetry does not only lie in the depth and breadth of thought and emotion expressed in the works of its outstanding writers and artistic thinking, but is also closely related to the cultural characteristics it reflects. As representatives of modern Chinese intellectuals with the most prominent self-awareness, the cultural consciousness of modern Chinese poets and their many outstanding creations not only provides readers with a rich and unique scope of understanding and propositions at the level of ideology, but also gives a taste of the free power and will of their individual lives in the vibration of the intersection of different cultures and the care of national emotions.

Chinese modern poetry has been following the changes in the future and destiny of the nation, and has been deeply concerned with the suffering of the masses, especially the creation of realistic poetry, which integrates realism and lyricism into one, has gained great significance. Guo Moruo's "Phoenix Nirvana", Wen Yiduo's "Dead Water", Dai Wangshu's "I Use My Broken Palms", Zang Kejia's "Old Horse" and Ai Qing's "Snow Falling on the Land of China" all belong to this category, and they are all typical modern poems with the theme of worrying about the country and the people. As a "social discourse for the masses" with strong, sharp values and realistic concerns, they indeed disclose the heavy and oppressive environment of the time and the sense of suffering and crisis caused by the increasing destruction of modern China by the real oppressors and invaders, and those politicized complaints of grief and anger processed by the authors' reason and emotion also inherit the sense of historical mission of classical Chinese poetry: "Essays are written for the time, songs and poems are written for the matter. "The poetry of modern poets, however, is not as good as that of classical poetry. However, in contrast to classical poetry, modern poets have been able to consciously strengthen their "self-awareness" in the midst of successive social changes, national suffering, and political turmoil, thus examining the close relationship between the changes of the times, public suffering, and the poet with the poet's real identity and vision, and integrating the poet's independent "self-awareness" into the "self-awareness" of the poet. The poet's independent "self-consciousness" is integrated into the "social discourse of the masses"

Since the real feeling of individual independence and emancipation and its cultural and psychological structure have gained a dominant position in modern China, the modernization of Chinese poetry is gradually free from the traditional aesthetic thought's domination and bondage to the poet's personalized historical experience and unique feeling in the continuous farewell to the traditional consciousness of classical poetry. In other words, many modern poets have become the most important poets. In other words, many modern poets have achieved complete emancipation from the classical poetic consciousness with a very distinctive personal character. Nevertheless, modern poetry has clearly increased its tendency to express "motherly emotions" accompanied by sorrow and grief. Bing Xin's small poems, for example, have a great deal of motherly love and tenderness molten into the artistic world she has constructed, fully reflecting the modern woman's self-consciousness, and vividly embodying the modern intellectual woman's painful independent personality of "living in evil but loving goodness", which is a struggle of the inner soul. Classical poetry generally does not reveal the oppressive factors of women's existence from the perspective of women's care, and often examines women's lives with a tragic vision and a sense of suffering. In contrast, the new poetry tries to explore women's unique life consciousness, emotional imagery and their inner flashing moments of perception, in order to replace the vague and hazy or generally suppressed monotonous and long-lasting sadness of classical poetry, whose overall sense of life and overall mood underline the poet's deep concern for women's cultural consciousness. In this sense, modern poetry has gained its own vitality because of the significance of women's cultural awakening.

To sum up, the general awakening and vigorous exploration of the self-consciousness of modern Chinese poets has given modern poetry a more independent, profound, liberating and new way of thinking and value of thought and art, different from the classical poetry.

===3. What is Classic===

From the reality of Chinese literature in the 20th century, both the discussion on whether there are classics in modern literature and the sense of anxiety crisis about the classics of modern literature are greatly related to the understanding of the meaning of classics. I have the following four understandings of the connotation of the classics.

First of all, in terms of spiritual meaning, literary classics shine with the light of thought. It is often rooted in the times, showing the distinctive spirit of the times, with the character of historical reality, but also outlines and reveals the far-reaching rich cultural connotations and human implications, with the transcendent open character. It often raises fundamental questions about human spiritual life, such as man and nature, man and society, and man and himself. At the same time, classics and classical interpretation have a close relationship, and classics must be continuously compiled and organized, accepted and disseminated, and revered in order to become classics. Original classics also need original interpretation, and original interpretation may become new classics or have new classical characteristics.

Secondly, from the point of view of artistic aesthetics, literary classics should have a "poetic" connotation. It is the creation of an irreducible artistic world permeated by the writer's unique worldview, which can provide some kind of aesthetic experience that no one has ever provided before. It is a unique aesthetic grasp of the world based on sensual life, spiritual needs, and even the individual and collective unconscious. This aesthetic grasp, through original efforts, incorporates the rich and colorful world of the mind and the vivid and rich real life, and also absorbs the past and future life into the present with the "time field of presence" that is generated and acted upon. The literary classics created in this way can make the human nature and human heart connected, and the heart of literature and poetry connected, so that the culture and literature of different periods can get deep communication.

Thirdly, from the perspective of national characteristics, literary classics often open a new chapter in the history of national literature, with the value of "history". That is to say, the literary classics can promote a nation's language and thought to a new platform. Just like Shakespeare's modernity in English and English literature, Pushkin's modernity in Russian and Russian literature, Lu Xun and the new literary classics in the May Fourth era also pushed our national language and thought to a new height and a new platform through the original artistic world of modern Chinese. This made it possible for the writers and theorists of modern literature to operate, communicate and create on this platform, and thus a series of classical achievements emerged.

Fourthly, from the acceptance of the classics, literary classics must be accepted and appreciated by the majority of readers. There are indeed many classics of highbrow literature, but those that are loved, recognized, appreciated and enchanted by a wide audience are the classics of classics. The "Three Hundred Tang Poems" have been printed countless times, with billions of readers. Therefore, a classic work must be a work respected by the public, and it must conform to the public's value orientation, respond to the public's will and pursuit, in order to constantly renew new vitality and vitality in order to be immortalized.

===4. Problems about Canonization===

Although a number of well-received classics of Chinese modern poetry have emerged or are being classicized in its hundred years of development, there are still many problems that need to be solved. Only by solving these problems and recognizing some misconceptions can we better promote the process of canonization of new poetry.

The first problem is the vision of the selector. As it mentioned above: the classics are often rooted in the times, not only displaying the distinctive spirit of the times, but also summarizing and revealing the far-reaching and rich cultural connotation and the meaning of human nature and having the character of transcendent openness. Therefore, there is a need for selectors and editors with vision, thoughtfulness, noble character and culture to select and recommend Chinese modern poems that can be regarded as classics for us. However, some selectors and editors lack a comprehensive, objective and fair vision when they compile anthologies such as "New Poetry Classics of 100 years". They choose poems according to their own preferences, and choose whoever I want to choose, and let whoever I want to stand aside stand aside. In this way, some fine and classic works with superior ideology and art are blocked and rejected by him, while some unknown works with low artistic achievement and simple connotation are regarded as classics by him. In view of this we should strictly screen the professionals to ensure that they can take a serious and responsible attitude, be unbiased, to prepare an excellent collection of selected new poetry classics for everyone to appreciate, read and taste, and promote the process of canonization of new poetry.

The second problem is the vision of a literary historian. As mentioned above: literary classics often open a new chapter in the history of national literature, with the value of "history". Therefore, literary historians play a crucial role in the process of canonization of Chinese modern poetry. If a poet's poems enter the history of literature and new poetry, and are recommended and analyzed as a key poet, it seems that he will definitely be a "classic poet" and his poems "classic poems ". However, it should also be recognized that many literary historians are unable to be unbiased, and the literary and poetry histories they have written have obscured and blocked many new poetry works that have had a significant impact, and inappropriately regarded some works that readers know nothing about as masterpieces.

The third problem is the selection of Chinese modern poems in Chinese textbooks. The role of Chinese textbooks is crucial to the canonization of poetry. In my personal experience, those textbooks are more inclined to poems with aesthetic nature, complex connotations, focus on the experience of life, the beauty of humanity, etc.. However, the sense of the times is often not strong enough. Some "purely lyrical" poems are necessary, but masterpieces that reflect the spirit of the times and real life should not be completely excluded. Language teaching materials are responsible for the canonization of new poetry.

The fourth problem is the education and teaching of new poetry. When it comes to the selection and editing of new poems in Chinese textbooks, the issue of education and teaching of new poems is naturally inseparable. The canonization of poetry is inevitably associated with poetry reading, and the level, form and state of poetry reading are obviously subject to the various stages and levels of contemporary poetry education and literary education, the latter's influence on aesthetic ability and aesthetic intuition is evident to all. In reality, few teachers are willing to make great efforts to guide students to appreciate the beauty of Chinese modern poetry, and few students are really interested in them. The reasons for this are many. The first reason is that modern poetry has a low status. Chinese modern poetry is far inferior to classical poetry, which has a cultural history of several thousand years, in terms of quantity and quality, as well as the number of poets. Another important reason for the low status of modern poetry in language teaching is that it is not considered as part of the test in China's exam-oriented education. The appreciation of ancient poetry, instead of modern poetry, is often taken as a key test in the examination of poetry appreciation, and when students are asked to write something, it is often explicitly state that the genre is not limited except for poetry, etc. Secondly, teachers' poetry literacy is not good enough. The poetry literacy of Chinese teachers directly affects the quality of poetry teaching. For a long time, modern poetry is a niche literature in Chinese literature, and people in general like to listen to stories but not to read poems, to read novels but not to read poetry collections, and even many Chinese teachers have very little experience of modern poetry, very little knowledge reserve of modern poetry, and not high poetry literacy. This directly leads to the fact that in order to complete the teaching plan, teachers will only boringly read from the text and cannot well guide students to appreciate the beauty of modern poetry. Some teachers even teach it quickly and do not seek for teaching quality, which greatly erases students' interest in learning poetry.

The fifth problem is the public's awareness. The making of "classic" new poems is closely related to society, media and education. The repeated selection and publication by publishers, the repeated broadcasting and promotion by TV, radio and newspapers, and the long-term "required reading" in Chinese textbooks are the most important channels for the creation of classics. In addition, the awareness of the public is also an important factor. However, Chinese modern poetry is still far from being publicized, and only a certain circle of people knows about the new poems, while the rest of the people can only recite or memorize few poems that are selected for language textbooks, which is far from enough. The most important factor in the highest achievement of Tang poetry in ancient China lines in the its high quality and higher production, while new poetry, except for the rapid development in the first thirty years, has seen fewer and fewer excellent poets emerge in the later period, gradually fading out of the ordinary people's view. In view of this, relevant institutions can organize some programs and activities, so as to publicize Chinese modern poetry; hold related competitions, so as to reward the creation of new poems.

===5. Conclusion===

For Chinese poetry, it is a remarkable thing to leave so many influential, distinctive and standard works to posterity with only a hundred years of development. And the study and research of the canonization of Chinese poetry is also very meaningful. But the canonization of modern poetry is a long way to go and requires a lot of efforts.

In this paper, we analyze the development and value of modern Chinese poetry, introduce the elements of excellent classical works, and point out five problems in the canonization of modern poetry nowadays. The author hopes that these five problems can be properly solved in the future, so as to promote the process of poetry canonization. The classic poems we select are not necessarily the most valuable works, nor are they necessarily the works with the greatest room for interpretation, nor are they necessarily of high literary achievement, nor do they necessarily reflect the characteristics of the times most accurately, but the selection of classic poems should reflect the basic consensus of readers and be widely accepted. The new poetry classics can look for excellent works that can serve as spiritual resources, value formation and value cultivation for our younger generation and our public, while also taking into account the characteristics of the Chinese language itself. Canonization is not something that can be accomplished by any one generation, and the process of canonization requires different or the same efforts from different generations.

In short, excellent works will overcome the test of time and be immortalized and enshrined as classics.

===References===

===Terms and Expressions===

Chinese modern poetry 中国现代诗歌

Canonization 经典化；承认为圣典

Synchronic 共时性的

Diachronic 历时性的

Go global 走出去

Vernacular poem 白话诗

Lyrical poems 抒情诗

Highbrow literature 高雅的文学作品；阳春白雪

Chinese textbook 语文课本

Knowledge reserve 知识储备

Rhythm 格律；韵律

Artistic aesthetics 艺术审美

===Questions===

1. Who was regarded as "the first vernacular poet"?

2. New poetry faces two peaks that are difficult to surpass. What are they?

3. In China's exam-oriented education, which one is more likely to be examined, ancient poetry or modern poetry?

===Answers===

1. Hu Shi.

2. One is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare.

3. Ancient poetry

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Domestication in Self-translation—A Case Study of ''Taipei People'''''</center>

<center>Liu Yao 刘瑶</center>

===Abstract===
Self-translation enjoys a long history, but for various reasons, it has only gradually attracted the attention of the translation field in the past thirty years. The domestic studies of self-translation mainly focus on the self-translated works of Lin Yutang and Eileen Chang, and relatively little attention has been paid to other self-translators like Pai Hsien-yung and their self-translated works. Therefore, by analyzing Pai Hsien-yung's self-translated work ''Taipei People'', this paper aims to reveal the translation strategies and methods used by self-translators in translating their own works, so as to enrich the study of self-translation.

Self-translation, as a special mode of translation, is different from other-translation, which is a more traditional mode. In a self-translated work, the translator has two identities, that is the author of the original text and the translated text. Due to this relation, the translator has a deeper understanding of the original work and can convey the ideas of the original text more accurately in the translation process. In the meanwhile, compared with other translators, self-translators are braver and more free to modify the translation in the process of translation, which is further reflected in the translation’ s more accurate communication of the ideas of the original work. In order to convey the message of the original work, self-translators tend to choose the strategy of domestication in order to bring the translation closer to the readers. This paper will analyze Pai Hsien-yung’ s self-translated work ''Taipei People'' and explore the domestication strategy he used in his translation to achieve some specific purposes. The choice of this translation strategy reflects the self-translator’ s profound master of the original work and also offers certain implications to the translation of other literary works.

===Key words===
self-translated works, domestication, ''Taipei People''

===Introduction===
Xia Zhiqing (1969: 39), a well-known literary critic of China, praised Pai Hsien-yung as "a rare genius among contemporary short-story writers" in his long article and argued that "there are only five or six people including Lu Xun and Zhang Eiling who can compare with or surpass Pai Hsien-yung's later novels in terms of artistic achievement." As a famous Chinese writer, Pai Hsien-yung has written many popular works, and his masterpiece ''Taipei People'' was selected as the seventh of the top 100 Chinese novels of the 20th century by ''Asiaweek'', which is the highest ranking of the works of Chinese writers alive. ''Taipei People'' is a collection of deeply complex short stories, in which 14 short stories depict the transformation of the lives of people from all walks of life in Taiwan during the transition from the old to the new era, with a sense of the rise and fall of history and the vicissitudes of the human world.

The English translation of ''Taipei People'' was done by author Pai Hsien-yung and translator Patia Yasin, and edited by renowned translator George Kao. In 1982, Pai Hsien-yung and Patia Yasin translated ''Taipei People'' into English and published it by Indiana University Press, using the English title of one chapter of the novel ''Wandering in the Garden, Waking from a Dream: Tales of Taipei Characters'' as the title of the collection. In 2000, a new translation was published by the Chinese University of Hong Kong Press, and the title was changed to ''Taipei People''. In 2013, Guangxi Normal University Press introduced a Chinese-English version of ''Taipei People''. During the process of translating this novel, due to the special identity of the translator, in order to better convey the deeper meanings and ideas in the original work, the translator chose the translation strategy of domestication at most of the time, so as to better present the original content and its deeper meanings to the foreign readers.

As the author of the work himself, Pai Hsien-yung sincerely affirmed the significance of ''Taipei People''. The high praise of the work from the outside world made him more certain of its value, and his bilingual and bicultural abilities convinced him that he could accomplish the task of self-translation. What's more, out of his identity as an author and his pursuit of self-perfection, he and his co-translator Patia Yasin actively engaged in cultural discussions. After continuous discussions and corrections, they strove to achieve a perfect translation. At the same time, as a self-translator, Pai Hsien-yung is more concerned about the acceptance of the translation in target language culture and the expectations of target readers, so he prefers to adopt a translation strategy based on domestication, and flexible and varied translation methods such as direct translation, free translation, addition, and transliteration, in an effort to absorb the meaning and form of the original work and try to achieve equivalence.

===Literature Review===
'''Definition of Self-translation'''

Self-translation refers to a translation pattern with specific meaning, usually the self-translation of literature. Grutman (1997: 17) in his ''Routledge Encyclopedia of Translation Studies'' defines it as "the act of translating one's own work or the result of that act." He also emphasizes internal intertextuality among texts and claims that there are two different types of self-translation, namely simultaneous self-translation and delayed self-translation. Grutman has also discussed in detail with Van Bolderen ( 2014: 325-327) discuss in detail the motivation of writers' self-translation. In their view, the motivation of writers to translate themselves can be summarized as the following four points: first, they hope to gain new and more readers; second, being in a foreign country is a catalyst for writers to translate themselves; third, they translate themselves in order to solve certain practical problems, such as economic problems, ideological audit problems, etc.; fourth, they are dissatisfied with existing translations or fear that handing over their works to others for translation will damage their works. In China, many modern and contemporary writers, represented by Eileen Chang, Lin Yutang and Pai Hsien-yung, have translated their own works.

There are three groups of scholars holding different viewpoints respectively in academic circle with regard to whether self-translation falls into the category of translation. The first group deems that self-translation in nature is one type of translation irrespective of its creativity. The second group holds that self-translation cannot be regarded as genuine translation but rewriting or re-creation of the original text. There are also some scholars who insist that self-translation is neither pure translation nor mere creation but a variant produced when the translator reshapes himself. This paper believes that self-translation depends more on self-translators' faithfulness to the original work. Therefore, self-translation belongs to the category of translation though its creative features and the self-translators' subjectivity are more prominent than conventional translators（Zhen Yantong，2019）.

'''Previous Studies on Pai Hsien-yung and His Self-translation ''Taipei People'''''

This paper is aimed at making an analysis of Pai Hsien-yung's self-translation of his work ''Taipei People'' to probe into the features of self-translation. Therefore, it is necessary to get an overview about the author, the work itself, the present translation of ''Taipei People'' and previous studies concerning its self-translation.

'''Brief introduction to Pai Hsien-yung and ''Taipei People'''''

Pai Hsien-yung, was born as the fifth son of the distinguished military strategist Pai Ch'ung-hsi in 1937 when the War of Resistance against Japan broke out. In 1965, he received his B.A from Taiwan University in 1961 and his M.F.A from the International Writers' Workshop at the University of Iowa. From 1965 to 1993, he taught Chinese language and literature in the East Asian Studies Program at UCCSB. Thanks to his rich life experiences, he has published a great majority of short stories, a full-length novel, and a number of essays.

According to Pai Hsien-yung's anthology, he has also conducted four self-translation activities, involving three books, namely ''Hong Kong 1960'', ''Zhexian ji'' and ''Taipei People''. ''Taipei People'' consists of fourteen stories which recount the latter-day careers of assorted mainlanders who sought refuge in Taiwan in the 1950s. While only several of them has been translated due to great translation difficulty, for instance, ''The External Yin Hsueh-yen'', ''New Year's Eve'', ''Jung's by the Blossom Bridge'' and ''One Winter Evening''. Therefore, in 1982, Pai Hsien-yung, with the help of Patia Yasin and George Kao, self-translated and Published the first version of ''Taipei People'' which is titled as ''Wandering in the Garden, Waking from a Dream'' with a subtitle Tales of ''Taipei Characters''. And this version then was revised to ''Taipei People'' and published in 2000 by Chinese University Press of Hong Kong.

'''Previous Studies on Self-translation of ''Taipei People'''''

Only a few studies focus on the translation of ''Taipei People'' due to the limited translated version of it. According to the papers and journals collected, studies related to it are summarized as follows.

Wu Bo (2004) points out that the translator's task must not be simply summarized as "faithful to the author and the original". As a factor with the strongest subjective initiative in the translation, the translator's ultimate task is to reconstruct the original work by personally intervening in the translation and reconstructing the original to a certain extent. At the same time, the translator explores the similarities and differences between the source culture and the target culture, which promotes the dialogue between the original text and the translation. Chen Jirong and Xia Tingde (2010) hold that Pai Hsien-yung's self-translation highlights creativity and relevance. Starting from practical experience，they divide his self-translation into three stages and discuss his self-translated works from the relationship between self -translation and conventional translation, dialectical relationship between the language of creation and the language of translation，dialectical relationship between the author and the translator. They also praise Pai's emphasis on the historicity of translation, cosmopolitan vernacular and the continuity of translation.Zhu Jing (2012) takes ''Taipei People'' as an example to explore the self-translation of literary works under the guidance of translation ethics. She finds that self-translators with dual subjectivity have high reader consciousness and they can boldly modify the source text to make the translation conform to the norms of the target language and obtain higher literary and aesthetic effects. Through a study of Pai Hsien-yung's self-translated work ''Taipei People'', Yu Rongqi (2014) found that in order to be faithful to the original text, retain the unique expressions of Chinese, and convey the symbolic meaning and cultural factors of the original, the self-translator adopts a variety of different approaches to translating the names of characters and Chinese characteristic words in the novel, reflecting his unique understanding of the purpose and connotation of the translation. This also indicates that the self-translators have greater autonomy in their translations than ordinary translators, and in order to achieve their specific translation purposes, the self-translators will have their own unique insights in the choice of translation strategies. Yang Lin (2015) argues that the analysis of self-translating activities of self-translators can also provide some insight into the activities of translating others. Translation requires fidelity, but fidelity does not require complete reciprocity. She argues that on the one hand, we should understand the original text more deeply and then reproduce it precisely, while on the other hand, we should not focus too much on the gain or loss of a word or a sentence, but should pay more attention to the communication of the spirit of the work, just like the "intertextual coherence" proposed by Vermeer, i.e. we should focus on the overall. Only in this way can we obtain a translation that is more acceptable to readers in the culture of the target language. Chen Xi and Li Xiaoxiang (2016) attempt to examine Pai Hsien-yung's translation ethics by analyzing his translation strategies and translation beliefs in the self-translation of ''Taipei People''. The study indicates that self-translation of names is more in line with the author's creative intention and closer to the theme. In this way, he takes Pai Hsien-yung as a reference to inspire conventional translation and provides some suggestions for translation of literary works. In the light of Bourdieu's theory of habitus, Liu Xiaofeng and Ma Huijuan (2016) investigate the development, features and interrelation of Pai Hsien-yung's literary habitus and translation habitus, and explicate that the self-translation of ''Taipei People'' is the result of structuration of the translator's literary habitus and translation habitus, as well as his group's habitus. Based on sociological theory and especially the concepts of habitus, capital and field, Song Shizhen and Wang Hongtao (2017) try to make a comprehensive and in-depth analysis of the translation and transmission of ''Taipei People'' in different literary fields. The paper discusses the self-translator's intervention in the self-translation activity and influence of cultural capital and social capital on the translation practice in order to reveal the social operation mechanism behind its successful transmission. Song Xueqi (2018) chooses Eileen Chang and Pai Hsien-yung as the research objects, who are the self-translators with similar bilingual competence. Their self-translation works The Golden Cangue and Winter Night from ''Taipei People'' are analyzed. By comparing their re-creation level and the pattern of its manifestation during their translation activity, Song aims at exploring whether bilingual competence is the influence factor on translating and re-creation, and how it affects the relationship between translating and re-creation. Based on Andre Lefevere's theory of patronage, Guo Jia (2019) comprehensively described the various appellation translation methods in the book of ''Taipei People'', analyzing the reason for diverse translation methods via a number of appellation translation examples with the help of paratexts, narrations, interviews and correspondence. The conclusion is that appellation translation in literary works requires more flexibility. Yuan Yuan (2019) analyzes four types of cultural load words in English translation from the perspective of schema theory: overlap, dislocation, default and conflict, summarizes the cultural schema correspondence of Chinese-English cultural load words, and proposes corresponding translation strategies for the translation of cultural load words under these four types of cultural schemas by taking the Chinese-English version of ''Taipei People'' as a case study object, with a view to enriching the operational form and cultural connotation of cultural load words translation activities of Chinese modern contemporary novels. Zhen Yantong (2019) analyzes systematically the self-translated work ''Taipei People'' with the purpose of exploring the characteristics of self-translation and summarizing translation strategies and methods employed by the self-translator. Through a comparative study, Chen Ziyu (2021) found that the self-translation version of ''Taipei People'' is a unity of "translation" and "rewriting". And from the perspective of translation ethics, he explores the special ethical choices the self-translator made and the translation strategies the self-translator adopted in the hope of inspiring the conventional translators and bringing inspirations to literary translation and the overseas promotion of Chinese literature.

It is obvious that there are only a small quantity of studies on self-translation of ''Taipei People'' and the research perspectives are miscellaneous. Most of them focus on the self-translator and almost no research examines the whole self-translation process systematically to probe into the translation strategies.

===Methods and Theories===
'''Research Methods'''

This paper is aimed at making an analysis of the domestication strategy adopted by Pai Hsien-yung to achieve his translation purpose. And based on this, this paper mainly adopts the following two research methods: 1. case study. This paper focuses on Pai Hsien-yung and his self-translated work ''Taipei People''. 2. comparative study. This paper makes an in-depth analysis of ''Taipei People'' through selecting examples from both the original text and the target text.

'''Definition of Domestication'''

Domestication is a translation strategy proposed by Lawrence Venuti (1995: 20), a famous American translation theorist, in The Translator's Invisibility—A History of Translation in 1995, as opposed to foreignization. According to Venuti, domestication is "bringing the author into the culture of the translated language". Generally speaking, domestication translation means to localize the source language, take the target language or the target readers of the translation as the destination, and adopt the expressions that the target readers are accustomed to in order to convey the content of the original. Domestication translation helps readers better understand the translated text, and also enhances the readability and appreciation of the translated text.

===Domestication in the Translation of ''Taipei People''===
In terms of the choice of translation strategies, Pai Hsien-yung, as a self-translator, adopts domestication strategy that prioritizes the culture of the target language and does not disturb the readers to the greatest extent, preferring to use language expressions that fit the readers' reading habits. This paper will select the translation of several types of more typical expressions in the translation of ''Taipei People'' to explore the domestication strategy adopted by Pai Hsien-yung in his self-translated work.

===Translation of Colors===
As Pai Hsien-yung (1982: 242) once said, "Chinese women are inexhaustible treasure," and he portrays many classic female figures in ''Taipei People'', the more prominent of which are the wives of several generals and prostitutes. Due to the differences in character traits, status and endings, when describing several female figures, Pai Hsien-yung used rich colors to describe their costumes and accessories in order to make their images more three-dimensional. When translating, Pai tried his best to reproduce the symbolic meaning of these colors in order to make the target readers feel the role of colors in the original text to set off the characters' images.

Example1：“宝蓝配绛红，夫人觉得怎么样？”林小姐抽出一瓶紫红的指甲油来（Pai Hsien-yung 2013: 401）。

“Burgundy to go with the royal blue, what does Madame think?”Miss Lin drew out a burgundy shade（Pai Hsien-yung 2013: 400）.

The lady in this case refers to Madame Hua, an upper-class warlord's wife, who always had some competition with other ladies about appearance, family, and taste. At the same time, Madame Hua is also a person who is particular about beauty, and she always spends much time thinking of and take care of the color of her nails to match the jade and the looseness of her hair styling. The original text uses vivid red and bright blue not only to refer to these two colors, but also to highlight Lady Hua's elegant taste. Burgundy means deep red, which also refers to the famous Burgundy wine in France, and the word itself is pronounced in a long and rhythmic way, so that readers can feel the noble temperament of Mrs. Hua when reading this word. Royal blue corresponds to bright blue, which further emphasizes Mrs. Hua's noble status (Song Shizhen and Wang Hongtao 2017:16).

Example2：尹雪艳也不爱穿红戴绿，天时炎热，一个夏天，她都浑身银白，净扮得不得了（Pai Hsien-yung 2013：41）。

Nor did she care to wear vivid colors. All through the summer, when the weather was burning hot, she dressed entirely in silvery white, looking cool and fresh beyond words（Pai Hsien-yung 2013: 40）.

Yin Xueyan is the main character in the chapter Forever Yin Xueyan, where the word "forever" refers not only to her eternal youth but also to her emotionless mood. As the most popular girl in the Paramount Ballroom, she is a good-looking girl with an indifferent temperament. She is considerate for all the guests, but this is only a means of socializing for her. White, representing Yin Xueyan's indifference, also symbolizes a tribute to her dead lover and her daily life filled with unwillingness. In Chinese, red and green are both bright and vivid colors. The phrase "wearing red and green" here does not refer to wearing red clothes and green jewelry, but rather to "be gorgeously dressed". If "wearing red and green" here is directly translated as wearing red and green clothes, the meaning intended by the original text cannot be correctly conveyed to the target readers. Therefore, Pai Hsien-yung uses "vivid colors" instead, indicating Yin Xueyan's usual plain dress, which is in line with her image.

Thus, when translating words related to color, we should replace the color words in the original text with other color words that have different literal meanings but equivalent functions, so as to avoid misunderstandings caused by cultural differences and retain the clever use of color in the original text.

===Translation of Names===
The names of the characters in the novel are not arbitrarily chosen by the author; they often suggest the character's features, identity and fate, etc., and have certain inspiring effects on the readers (Li Miaoqing 2009: 148). Most of the names of the characters in ''Taipei People'' are related to their images and identities, such as Yin Xueyan and Yue Yuehong. According to Bai Xiangyong, "Translation, especially Chinese to English translation, of names is a problem. Once the name is pinyinized, the meaning is all but lost, not to mention the beauty of the text (Xu Jun 2004: 58-60)." Therefore, in translating names, Pai Hsien-yung mostly abandons the commonly used pinyin form and adopts more translations that correspond to the meaning of the character's name.

In terms of the name Yin Xueyan mentioned earlier, the word "snow" refers to her snow-white skin and snowy appearance (Pai Hsien-yung 2013: 41), and the word "yan" refers to her style in the way she moves her body (Pai Hsien-yung 2013: 43). The transliteration "Yin Hsueh-yen" does not convey the meaning of the name and the author's intention, so Pai translates Yin Hsueh-yen as "Snow Beauty" (2013: 50). "Snow" means snowy and white, which precisely highlights the character of Yin Xueyan. "Beauty" means beautiful, which fits the characterization of Yin Xueyan. At the same time, "Snow Beauty" cleverly borrows the expression of the famous Disney character "Snow White", which can not only arouse the interest of foreign readers, but also present this character image more vividly and concretely to the readers, and at the same time implies the difficult fate of Yin Xueyan.

Another character, Yue Yuehong, is the sister of Madam Qian in the chapter ''A Dream in the Garden'' (Madam Qian is the widow of a Kuomintang general). Yue Yuehong, as her name suggests, has a passionate personality and outstanding looks, but her personality is rather mischievous and therefore not very pleasant. The word Yue Yue Hong itself refers to a kind of Chinese rose, so it cannot be translated in pinyin. In the end, the translators decided to translate the word as "Red-red Rose". The English poet Robert Burns has a famous line often quoted, "My love is like a red red, rose", so the English translation of Yueyuehong has its origin, and there is an overlapping word in English. "Red-red Rose" is a playful word that fits well with the pink flowers that bloom as they fall (Pai Hsien-yung 2013: 179). "Red-red Rose" not only allows readers to associate Yue Yuehong's appearance with the beautiful rose, but also reflects her character, which is like a rose with thorns.

When translating the names of characters with special meanings, Pai Hsien-yung does not simply adopt the pinyin form, nor does he simply pursue great changes in form, but try to align with the culture of the target language and borrow cultural images familiar to readers. In this way, not only do they create the same vivid characters in the translations as in the original works, but they also accurately and completely convey the implied meanings of the names in the original works, and some of them even manage to reach new heights in terms of form and pronunciation rhythm (Xie Lu 2011:158). However, Pai Hsien-yung (2013: 178) also says, "some translators also translate Chinese names by their meanings, and that is not suitable for every Chinese name." Therefore, for many names in the translation, Pai Hsien-yung still retains their phonetic transliteration and uses a combination of free translation to deal with the translation.

===Translation of Traditional Expressions===
Although ''Taipei People'' depicts the lives of a group of "Taipei people" with different identities, in fact these "Taipei people" are mainlanders who went to Taipei for different reasons and come from different provinces or cities in mainland China (Shanghai, Nanjing, Sichuan, Hunan, Guilin, Beiping, etc.). Therefore, in ''Taipei People'', we can read many expressions related to traditional Chinese culture or historical allusions. In translating these particular Chinese expressions, Pai Hsien-yung likewise chooses the translation strategy of domestication in order to make the best connection between the translation and the original (Li Miaoqing 2009: 149).

Example3：“哦，原来是打翻了醋罐子。”金大班笑道（Pai Hsien-yung 2013：203）。

“Aha. So the grapes have turned sour.”Taipan Chin laughed（Pai Hsien-yung 2013：202）.

The origin of "vinegar" here can be traced back to the Tang Dynasty. It said that Fang Xuanling, a chancellor who was highly valued by Emperor Tang Taizong, was very afraid of his wife. One day, Emperor Tang Taizong joked and asked Fang Xuanling's wife to choose between drinking a jar of "poisonous wine" and giving Fang Xuanling a concubine. The wife did not want her husband to have a concubine, so she chose to drink the "poisonous wine", and the jar was actually filled with aged vinegar. After this, the expression "eating vinegar" came into being. In Chinese, it means "jealousy", that is, jealousy of a man and a woman's relationship. However, there is no such meaning in western countries, not to say connecting the original text with "jealousy and envy". Therefore, Pai Hsien-yung chooses to use the customary expression "the grapes turn sour" in English instead to reduce the difficulty for readers to understand when reading, in order to meet the language habits of the target readers.

Example4：“她没有哭泣，可是两片发青的嘴唇却一直开合着，喉头不断发出一阵阵尖细的声音，好像一只瞎耗子被人踩得发出吱吱的惨叫来一般（Pai Hsien-yung 2013：111）。”

"She didn’t cry, but her pale lips were opening and closing, a shrill, small noise kept coming from her throat, as if somebody stepped on a blind mole and it was letting out a dying shriek（Pai Hsien-yung 2013：110）."

The word “瞎耗子” here is not directly translated as "blind rat" or "blind mouse" by Pai Hsien-yung, but as "blind mole". In English, people used to use "blind as a mole" to describe poor eyesight. Because moles are used to hunt at night, the eyes of adult moles are deeply sunken under the skin, and their eyesight is completely degraded, while mice do not have this feature. Therefore, in order to make target readers better understand the content of the original text, Pai Hsien-yung also pays attention to the cultural expression habits of the target language in detail.

Due to the cultural differences between the source language and the target language, when translating words or expressions with distinct cultural characteristics, translators must pay great attention to the impact of these differences. Self-translators, on the other hand, prefer to use the strategy of domestication in order to introduce Chinese culture in the original work to the target readers and to convey the special meaning of particular expressions in the original work, so as to reduce the impact on readers' reading experience due to cultural differences.

===Conclusion===
Lefevere (1992/2006) suggests that "literary techniques, genres, themes, archetypal characters and scenes, symbols, etc." should be reflected in the translation (Lefevere, 1992:34), and gives solutions to a series of specific problems encountered in translation. He believes that the translator should not only be able to translate the semantic information content of the original text, but also convey its "extra-verbal speech act".

After the analysis above, the author finds that fidelity is not only an exact fit to the meaning or form of the original work, but also the interpretation and communication of the spirit of the original work, and the continuation of the life of the original work. Pai Hsien-yung and his co-translators have the most profound understanding of the original text in their translation of ''Taipei People'', and thus make the most fitting interpretation in the translation. For the self-translators, their translation of their own work is not just a simple and rigid translation, but also an interpretation and continuation of the original work in a new cultural context.

Pai Hsien-yung (2013: 29) writes in ''Taipei People'' that he is "determined to move the original Chinese text of this book to the English version as far as possible," a determination that he has as both the original author and the self-translator. Such a dual identity allows Pai Hsien-yung to have both the author's deep understanding of the content and ideas of the original text and the privilege of a special choice of translation strategy and more freedom over the translation as a self-translator. When translating his own works, the self-translator pays more attention to conveying the content of the original work and the culture of the source language than other translators, so the self-translators are not only faithful to the original work, but also hope that the target readers can better understand the original work.

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Chen Jirong, Xia Tinde陈吉荣, 夏廷德. (2010). 从白先勇辩证式自译看摄入性改写翻译理论[The Theory of Intake Rewriting Translation from Pai Hsien-yung's Dialectical Self-Translation]. ''《阜阳师范学院学报(社会科学版)》'' [Editorial Department of Journal of Fuyang Teachers College (Social Science)] (9): 39-42.

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==英语笔译刘珍 Liu Zhen 202170081588 MW==

<center>'''A Study of Strange Stories From a Chinese Studio from the Perspective of Skopos Theory'''</center>

<center>刘珍</center>

===Abstract===
Liao Zhai Zhi Yi written by Pu Songling is a famous collection of more than 400 peculiar short stories. As a work coming into being at the very beginning of the 17th century when the classical Chinese writing was on the wane, the appearance of Liao Zhai Zhi Yi (or Liao Zhai in abbreviation) injected vigor and vitality into the classical Chinese literature. Among the many foreign translations of this book, the English version named Strange Stories from a Chinese Studio translated by Herbert Allen Giles is the most popular and influential one so far, thus becoming an indispensable part for the study of the English translation of Liao Zhai. At a time that we are calling for Chinese culture going global, as a successful case of Chinese literature work well-accepted by the foreign market, the English translation if sure of high research values and guiding significance. This thesis attempts to take Skopos theory as the theoretical basis, and take Giles’s Strange Stories from a Chinese Studio as the main research object to study the translator’s aims, the choices of translation strategies and the achievement of translation function.

===Key words===
Strange Stories from a Chinese Studio; Herbert Allen Giles; Skopos theory; Reader Expectations

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
The Translation and spread of Su Tong 's works Abroad

<center>'''The Translation and spread of Su Tong 's works Abroad'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
Su Tong is one of the famous contemporary Chinese writers, whose works have been translated into a variety of languages and widely spread abroad. therefore, the writer Su Tong has also become one of the top three foreign translators of novels in China. Based on the present situation of the foreign translation of Su Tong's works, this paper will explore the reasons for the success or failure of its overseas dissemination, and put forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong; Translation； Spread

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译聂薇 Nie Wei 202170081592 MW==

<center>'''Translation of Idioms in Howard Goldblatt's ''Life and Death are Wearing Me Out'''''</center>

<center>Nie Wei 聂薇</center>

===Abstract===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is full of vivid and interesting idioms, which make the language of this novel so unique and characteristic. Howard Goldblatt's translation of this novel has been a great success in the English-speaking world. In the translation of idioms in this novel, he mainly adopts the methods of foreignization and omission, and follows the translation principles of preserving the foreign culture and insisting on semantic correspondence in order to present the heterogeneity of the idioms, so that the Chinese culture contained in the idioms in ''Life and Death are Wearing Me Out'' is well presented to Western readers. His translation provides a more objective platform for Western readers to know the diverse cultures of the world. The study of Goldblatt's translation of this novel can help guide the English translation of Chinese literature, thus providing references for promoting Chinese culture abroad.
===Key words===
''Life and Death are Wearing Me Out''; Howard Goldblatt; translation of idioms; creative treason
===Introduction===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is not considered the best novel in China, but Goldblatt's English translation has received much attention in the English-speaking world, won many international awards, and is even considered one of the most important works for Mo Yan to win the Nobel Prize in Literature. One of the most distinctive features of this novel is its unique language style. Goldblatt’s exquisite translation enables Mo Yan's style to be reproduced, and the strong local flavor and magical realism to be manifested, all of which is an important factor for the success of the English translation of ''Life and Death are Wearing Me Out''. This paper discusses the translation methods and principles adopted by Goldblatt in his translation of the idioms in this book, and analyzes its influence on the dissemination of Chinese culture, so as to provide reference for future translations of Chinese classics. (Shi Chunrang 2019, 94)
===Literature Review===
I searched CNKI with keywords "''Life and Death are Wearing Me Out'' and translation" (searched until May 29, 2022) and found 355 related papers. These papers analyzed the translation methods, strategies and Goldblatt’s translation style of ''Life and Death are Wearing Me Out'' from different perspectives, such as relevance theory, Bourdieu’s theory of field, Reception Aesthetics Theory, eco-translatology, translation aesthetics, the post-colonialism perspective, rewriting theory, translation ethics, hermeneutics and translators' subjectivity.

Among them, there are five papers related to the study of proverbs ( idioms). Wang Yiting and Lin Mei point out that Goldblatt mostly uses literal translation to translate idioms in the linguistic dimension, chooses both literal and free translation in the cultural dimension, and uses rewriting in the communicative dimension. Liu Geng and Lu Weizhong, with the help of conceptual metaphor theory, point out that the English translation of the idioms in ''Life and Death are Wearing Me Out'' has certain translator's subjectivity, and the translator's metaphorical way of thinking affects the use of different translation strategies. Ye Pingting, based on the cultural translation view, uses the idioms in Goldblatt’s version as a corpus to explore how translators effectively convey cultural information. Chen Qiansa analyzes the use of idioms and their translation methods in this novel based on the Chinese-English parallel corpus. Shi Chunrang and Shi Yan analyze the role of idioms in ''Life and Death are Wearing Me Out'' in constructing the "image of the other" for Western readers, as well as in deconstructing the cultural psychology of western readers.

The study of idioms’ translations in Goldblatt's version includes both case studies, in which a single idiom is selected for discussion, and quantitative analyses supported by definite statistics. This paper provides an overall study of the methods and principles of translating idioms, and suggestions for improvements to the mistranslations in Life and Death are Wearing Me Out, so as to provide a reference for the English translation of Chinese literary works in the future.
===Methods and Theories===
This paper focuses on the study of Goldblatt’s translation based on Venuti's theory of domestication and foreignization and the concept of creative treason.

Lawrence Venuti firstly formulated and introduced the theory of domestication and foreignization in the book ''The Translator’s Invisibility''. According to Venuti, domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target readers, while foreignization refers to the type of translation in which a target text deliberately breaks target conventions by retaining something of the foreignness of the original.

The domestication method can express the language and culture of the source language with the language and culture familiar to the target language readers, and the translation is fluent and easy to read and accepted by the readers, but the "domestication method" tends to distort the facts of the original text, which is not conducive for the target readers to feel the "exoticism" of the foreign culture. On the other hand, the "foreignization method" can better maintain the style of the original text, convey the author's original intention, and let the target language readers truly feel the difference between the two cultures, but the disadvantage of it is that the translation may be obscure and difficult to understand, and may sometimes make the readers have cultural misunderstanding. (Zhu Zhouxain 2013,155)

Professor Xie Tianzhen published a book entitled ''Translation Studies'', in which he elaborated on the creative treason in literary translation in depth. In his book, he clearly pointed out that "the most fundamental characteristic of creative treason in literary translation is that it introduces the original work into a receptive environment that the original author did not originally anticipate, and changes the form originally given to the work by the original author."

Due to the specific differences in social, historical and cultural factors between the source language and the target language, the translator will certainly make appropriate and comprehensive "adjustments" to the specific differences in semantics between the two languages in different contexts during the whole process of translation. These "adjustments" are, on the surface, a "treason" against the original work, but it is not the translator's trampling on the original work at will, but the translator's attempt to make the translation convey the same meaning as the original work in the translated language environment. (Zhang Liyun 2019,141)

===1.Idioms in ''Life and Death are Wearing Me Out'' and their characteristics===
Idioms are simple and concise folk languages that are widespread and easy to understand. Most of them are short sentences that are transmitted orally by the laboring people, reflecting their experiences in production and life vividly. Idioms contain a great deal of background information and culture, and it is a form of language that has been developed over a long period of historical development and real life.

''Life and Death are Wearing Me Out'' is filled with lively and amusing idioms that bring uniqueness and vitality to the novel's language. This novel tells the story of joys and sorrows experienced by the landlord Ximen Nao’s family and the farmer Lan Jiefang’s family for more than half a century. The theme of the novel is closely related to the farmers and the land, which of course requires the use of a large number of idioms to narrate the story. (Shi Chunrang 2019,94)

Clearly, the idioms in this novel are diverse in form and peculiar in presentation. For example, when the donkey reincarnated from Ximen Nao bragged about being favored by the county chief, it said, "人们都知道，侍候好了县长的驴，就会让县长格外高兴。拍了我的驴屁，就等于拍了县长的马屁。" The translation is "Everyone knew that taking special care of the county chief's donkey made him very happy. Patting my rump was equivalent to patting the county chief's behind with flattery." Here cleverly, the common saying "拍马屁" in people's daily life is used as “拍驴屁”, which highlights the identity of the donkey, and also vividly and humorously depicts the complacency and arrogance of the donkey, while expressing its contempt for those who strive to curry favour with people in authority.

In addition, when the ghosts in the hell sneered at Xinmen Nao, they said, “猫改不了捕鼠，狗改不了吃屎”. The translation is “You can’t keep a cat from chasing mice or a dog from eating shit.” The language, though vulgar, is very common in people’s daily life and fits the overall style of the novel.

This kind of linguistic style is both traditional and innovative, both unbridled and unrestrained, and is highly effective for shaping the characters and plotting.
===2.Goldblatt’s translation methods of idioms in ''Life and Death are Wearing Me Out''===
(i) Foreignization

The method of foreignization is to deliberately make the translation violate the conventional linguistic models in target language and retain the exotic atmosphere of the original text, with the aim of "injecting the linguistic and cultural differences in the foreign text into the target language, sending the readers abroad" and providing them with an "unprecedented reading experience”. Goldblatt deliberately uses the method of foreignization to translate idioms in this novel.

Specifically, Goldblatt tries to convey the heterogeneity of idioms in the original text in the following ways.

First, he tries his best to show the target readers the meaning of Chinese idioms that is unique to China and not available in the Western culture. After all, idioms are developed in the production and life experiences of different peoples. Therefore, Goldblatt chooses literal translation whenever possible.

For example, “你是煮熟的螃蟹难横行了，你是瓮中之鳖难逃脱了” is translated into “You’re a cooked crab that can no longer sidle your way around，a turtle in a jar with no way out”. “瓮” is a unique Chinese utensil with rich Chinese cultural information. The image of "瓮" is missing in the English-speaking world. Therefore, he borrows the familiar apparatus "jar" from English to translate it, which is roughly similar to "瓮" in appearance. This translation uses an alternative image to convey the message of the original text, which reduces the connotative information of the original idiom but makes it easier for the target readers to understand the essential message of the idioms.

Second, for some idioms, Goldblatt translates them by literal translation with annotation. The literal translation is of course for presenting the original message of the idioms to the target readers, while the annotation is to help the readers better understand the essential message of the idioms, because some of them have complex metaphorical messages, so annotation is essential for understanding.

For example, “兔死狐悲，物伤其类” is translated into “When the rabbit dies，the fox grieves, for his turn will come.” This annotation “ for his turn will come” clearly illustrates the message of the original idiom and removes any confusion about why the fox grieves for the rabbit’s death. With annotation, the connotative meaning of the idiom becomes clearer.

Third, for some idioms that have exact equivalents in the target language, the translator deliberately translates them with explanatory literal translations instead of copying the idioms in the target culture. For example, “入乡随俗” is translated into “When you come to a new place，learn the local customs and follow them” rather than “When in Rome, do as the Romans do” in English. Obviously, the use of semantic equivalents of idioms in the target language cannot translate the information conveyed by the original context. An explanatory literal translation approach can help target readers better understand the plots of the novel and increase their interest in reading it. (Shi Chunrang 2019,95)

(ii) Domestication

Sometimes we may find that the Chinese idioms don’t have equivalents in the target language, so they can be translated through free translation, which means we can follow the principle of domestication by borrowing existing expressions in the target language, thus making the translation closer to the reading habits and cognition of the target readers. In Goldblatt's translation of idioms in ''Life and Death are Wearing Me Out'', about 30% of those idioms are translated through free translation. (Chen Qiansa, 2019,108)

For example, “洪泰岳你出口无信，食言而肥” is translated into “Hong Taiyue，your words meant nothing, you did not make good on your promise”. In this sentence, “食言而肥” and “出口无信” mean the same thing: not to keep one’s word. These two idioms came out of ''The Commentary of Zuo''. It is not possible for the translator to translate the allusions behind each idiom, which would result in a lengthy and unclear translation. So Goldblatt uses a phrase with similar meaning to express the idioms “食言而肥” and “出口无信”. He borrowed from the English idiom “not make good on your promise” and delivered an authentic translation cleverly.

Due to the differences between the English and Chinese languages and between Eastern and Western cultures, the “treason” of the original text in literary translation is inevitable. For example, in the novel ''Life and Death are Wearing Me Out'', there are many epithets such as "爷们" and "伙计", which are difficult to translate into English with full equivalence, and Goldblatt's creative "rewriting" of them also reflects his unique translation ideas. For example, according to different contexts, “伙计” is translated into “gentleman” “buddy” “old friend”; according to the specific meaning of the sentence, “掌柜的” is translated into “you are the head of the household” “my husband” “the old gentleman” “sir” and so on. (Zhang Qi 2019,329)

Although the domestication method changed the images or structure of the original sentence, Goldblatt's translation better conveys the original author's intentions and can be deemed as a kind of fidelity from a deeper level.

(iii) Omission

Omission means that the idiom is not translated from the original text. There are two kinds of idioms that Goldblatt did not translate. The first one is those idioms that contain distinctive local culture, which cannot adequately convey the content of the novel in the target language. For example, “我这哥，惯常闷着头不吭声，但没想到讲起大话来竟是‘博山的瓷盆——一套一套的’ ” is translated into “He was normally not much of a talker, so everyone was taken by surprise. To be honest, it turned me off.” The idiom “博山的瓷盆——一套一套的”(which means a set of porcelain pots from Boshan) has been omitted here because it contains an item known only to a small group of people, and the message it implies is so unique and unnecessary that the translator chose to omit it. (Shi Chunrang 2019,95)

In addition, Goldblatt chose to deliberately omit some idioms, such as “西游记”“小妖红孩儿”“封神演义”“哪吒”“天山童姥”. Because in his mind, "capturing the style, rhythm and imagery of the original work is the real task and challenge for the translator”. Omitting those idioms makes the storyline more compact and the language more straightforward and easily accepted by the target readers. (Zhang Qi 2019,329)

Second, some idioms that serve to add explanatory information and vividness to the original text are also often deleted by Goldblatt. For example, "出水才看两条腿" and "咱们骑驴看账本，走着瞧! " and other similar proverbs are omitted.

On the whole, however, the idioms in ''Life and Death are Wearing Me Out'' are very important for the novel’s general language style. Therefore, there are not many cases where the translators leave idioms untranslated.

(ⅳ) Mistranslation

In Xie Tianzhen’s article ''Mistranslation: Misunderstanding and Misinterpretation in Different Cultures'', he divides mistranslation into two types, namely intentional mistranslation and unintentional mistranslation. Intentional mistranslations are those in which the translator chooses to consciously misinterpret the meaning of the original text for some reason. Unintentional mistranslations can be divided into three types which are caused respectively by carelessness, poor linguistic skills and lack of knowledge of the cultural background of the original language. (Zhang Sen 2016,111)

Intentional mistranslation closely reflects the translator's creative treason and is also a major manifestation of the collision, distortion and deformation between cultures in literary and cultural exchanges. Therefore, this paper focuses on the current situation of intentional mistranslation in Goldblatt’s translation of ''Life and Death are Wearing Me Out'', and reveals how translators creatively fill the gaps between different cultures. (Zhang Liyun 2019,143)

For example, “……让老婆孩子吃糠咽菜的守财奴” is translated into “…made his wife and kids eat chaff and rotten vegetables”. The original text intended to use the idiom "吃糠咽菜" to depict the poor life of them, but in the translation it is translated into "eat chaff and rotten vegetables". In the original text, the word "菜" means "wild edible plants", because in the old days, Chinese people who could not afford to eat vegetables often used wild plants to fill the belly. But in the English version it is translated as "rotten vegetable". Why? Because with the improvement of people's livelihood, "wild edible plants" have become a delicious delicacy for people in both the East and the West. Therefore, in order to tell the target readers about the poor life of those people, he translated "糠咽菜" into "chaff and rotten vegetables", which makes it easier for the readers to accurately capture the meaning of the original text.

The translator plays an important role in this process, and the translator's personalized translations, mistranslations and omissions reflected in the translations are all manifestations of the translator's creative treason.
===3.Goldblatt’s principles for translating idioms===
(i) Preserving the culture of the original language

Generally speaking, idioms have deep semantic connotation and vividly reflect the material and spiritual culture with local characteristics. Therefore, when translating idioms, we should try to understand the deeper connotations of them and to express them clearly. By researching, communicating with the author and other methods, Goldblatt managed to understand the essential meaning of the idioms, their historical roots and the context in which they are used, so as to truly grasp their precise meaning. (Shi Chunrang 2019,97)

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopts the methods of foreignization and omission, so we can say that the principle he follows in translation is that of preserving the culture of the original language. He tries to highlight the heterogeneity of the original proverbs through literal translation, to reveal the uniqueness of Chinese culture, and to help Western readers understand the life experience of the Chinese people attached to the idioms through annotations.

Due to the cultural status of Europe and America, cultural differences and the marginal position of translated literature in the European and American literary world, European and American translators often choose to translate other countries' literary works by means of domestication, and the translation of ''The Story of the Stone'' by David Hawkes is an example of the use of domestication strategy. However, cultural hegemony and cultural colonization have led a group of translators with a sense of mission to choose a translation strategy that preserves the style of the original work, which is called foreignization.

The contradiction is obvious: the translator wants to preserve the taste of the original work, but the reader's difficulty in understanding the language and structure of the vernacular novel requires the translator to make concessions in the translation. Goldblatt's approach to translation reconciles this contradiction to a certain extent. He tries to strike a balance in the translated work so that it can be accepted by Western readers. (Tian Debei 2016,91)

(ii) Semantic correspondence

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt not only tries to reproduce the meaning of the idioms in the target language, but also strives to achieve an overall semantic correspondence between the proverbs and the context in which they are found. He helps to make the text more logical and readable by adding explanatory phrases, explicitly stating the implied meaning or adding connecting words. In achieving semantic correspondence, he tries to make the translation as close to the original text as possible, without adding or subtracting anything, and without creating ambiguity. In terms of choosing words, he tries to be as concise and appropriate as possible; in terms of sentence construction, he tries to achieve a sentence style that reflects some of the features of the original but is also in keeping with the conventions of the target language. (Shi Chunrang 2019,97)
===4.Implications of ''Life and Death are Wearing Me Out'' for the English Translation of Chinese Literature===
As mentioned above, guided by the principle of personalized translation, there is 'fidelity' in translating the idioms in ''Life and Death are Wearing Me Out'', as well as creative treason and omission of the original text. It can be seen that Goldblatt is not bound by the traditional dichotomy of literal translation and free translation. The language of his translation is authentic and fluent, reading like an original English novel but conveying exotic cultural imagery.

Goldblatt insists on translating for his readers, so he was selective in his translation strategies in order to make exotic Chinese literature accessible to western readers, thus allowing excellent literature to enter the field of foreign translated literature and achieving the effective dissemination of Chinese literature.

Compared with Western culture, Chinese culture is still in a disadvantaged position in the world cultural landscape. Therefore, if Chinese literature wants to “go global”, translators must take into account the special cultural background and general readers' acceptability.

Goldblatt’s choice and application of translation strategies carries with it the translator's subjectivity, and under the guidance of such translation principles, his translations meet both the literary standards of the Western world and the expectations of the Western readers for Chinese literature. (Zhang Qi 2019,330)

Whether Chinese literature has done a good job in “going global” is not only judged by the accuracy of their translations, but also by how well they are received by foreign readers. The difference between Chinese and Western cultures have resulted in readers’ different preferences for literary themes, so Goldblatt has paid great attention to the tastes of Western readers when selecting books he was going to work on, so that his translations can be better accepted by them. However, the mistranslation in his version has led to a deviation from the original Chinese works.

Compared with Chinese translators, Sinologists have a strong linguistic background, but their knowledge reserve of Chinese culture is still insufficient. So the best mode of translation is a kind of Chinese-foreign collaboration, in which the Chinese translators deal with the cultural challenges while the sinologists do the linguistic touch-ups, in order to ensure the integrity of Chinese culture in the West, and to achieve both fidelity to the original work and increased acceptance abroad, thus achieving success in the translation of Chinese culture. (Zhang Sen 2016,115)
===Conclusion===
In translating idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopted the strategies of literal translation (39.2%) and free translation(30.3%), supplemented by omissions, additions and borrowings, with a few mistranslations (about 10 cases). It is evident that he tends to retain the cultural image of the idioms in the source language, and tries not to add or delete; however, when those images in the source language don’t have equivalents in the target language, he will be bold enough to adopt free translation, so as to maintain the readability and fluency of the translated work. In the translation process, he stays true to the connotation of the text rather than the literal meaning, and stays true to the target readers rather than the readers of the source language. (Chen Qiansa 2019,110)

This helps us to reveal Goldblatt's faithful translation and reader-consciousness. In conclusion, in the process of translation, translators should preserve the style and image of the idioms in the original text as much as possible, so as to spread Chinese culture and enrich the English vocabulary; at the same time, they should take into account the readability of the translated work and adopt various translation approaches to deal with the Chinese idioms.

Goldblatt not only makes the message conveyed by the idioms and the proverb-rich language style of ''Life and Death are Wearing Me Out'' well presented to Western readers, but also makes them easily understood and accepted by Western readers. The translator does his best to spread Chinese culture and respect the culture clash between different cultures. His translation dares to face up to the cultural differences between China and English-speaking countries, and uses a unique translation method to strongly promote Chinese literature and culture to the Western world, which achieved good results, and also provides some useful references for us to do a good job in promoting Chinese culture to go abroad.

Therefore, we should not only consider the needs of Western readers at the expense of the dissemination of our own distinctive culture, instead, we should take the promotion of our own culture as our responsibility and take into account the reading needs of Western readers. The successful translation of idioms in Mo Yan’s novels is a good case in point. In the exchange between Chinese and foreign cultures, the translation of idioms in Mo Yan's novel adheres to the idea of faithful translation and mainly adopted foreignization, fully demonstrating the traditional Chinese culture with strong national flavor and distinctive regional characteristics, which is an important inspiration for the dissemination of Chinese culture today.
===References===
*Mo Yan 莫言. (2011). Life and Death are Wearing Me Out. tans. by Howard Goldblatt. New York: Arcade Publishing．
*Venuti, L. (1995). The translator’s Invisibility: A History of Translation. London and New York: Routledge．
*Xie Tianzhen 谢天振.(2012).创造性叛逆:争论、实质与意义[Creative Treason: Controversy, Substance and Meaning].''中国比较文学''Comparative Chinese Literature (2):33-40．
*Zhang Qi张琦.(2019).“创造性叛逆”:莫言《生死疲劳》英译特点及启示[Creative Treason: Characteristics and Insights of the English Translation of Mo Yan's “Life and Death are Wearing Me Out”].''上海理工大学学报''Journal of Shanghai University of Technology (04):327-330+337.
*Zhang Liyun, Wu Qingjuan张丽云,吴庆娟.(2019).创造性叛逆与葛浩文《生死疲劳》英译本的译介[Creative Treason and Goldblatt’s Translation of “Life and Death are Wearing Me Out”].''齐齐哈尔大学学报''Journal of Qiqihar University (10):141-143+172.
*Wang Yiting, Lin Mei王怡婷,林梅.(2014).翻译适应选择论视角下《生死疲劳》的习语翻译[The Translation of Idioms in "Life and Death are Wearing Me Out" from the Perspective of Translation Adaptation Selection Theory].''常州大学学报''Journal of Changzhou University (04):100-102+106.
*Shi Chunrang, Shi Yan石春让,石岩.(2019).葛浩文译《生死疲劳》中谚语的文化建构与解构[The Cultural Construction and Deconstruction of Idioms in Goldblatt's Translation of “Life and Death are Wearing Me Out”].''外国语文''Foreign Literature (01):94-99.
*Zhang Sen, Zhang Shijin张森,张世瑾.(2016).葛译《生死疲劳》中的误译现象与中国文化译介策略[Mistranslation in Goldblatt's Translation of Life and Death are Wearing Me Out and Strategies for Translating Chinese Culture].''河北大学学报''Journal of Hebei University (05):111-116.
*Liu Geng, Lu Weizhong刘庚,卢卫中.(2016).汉语熟语的转喻迁移及其英译策略——以《生死疲劳》的葛浩文英译为例[The Metonymic Migration of Chinese Idioms and Their English Translation Strategies - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''外语教学''Foreign Language Teaching (05):91-95.
*Chen Qiansa陈千飒.(2019).基于语料库的《生死疲劳》熟语英译研究[A Corpus-based Study on the English Translation of the Idioms in "Life and Death are Wearing Me Out”].''重庆交通大学学报''Journal of Chongqing Jiaotong University (01):105-111.
*Zhu Zhouxian朱周贤.(2013).论乡土小说翻译的难点——以葛浩文英译的《生死疲劳》为例[On the Difficulties of Translating Rural Literature - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''作家''The Writers (14):155-156.
*Tian Debei, Zhan Xuanwen田德蓓,詹宣文.(2016).入乡未能随俗:论葛浩文译《生死疲劳》的乡土气息[On the Local Flavor of Goldblatt's Translation of “Life and Death are Wearing Me Out”].''东北农业大学学报''Journal of Northeast Agricultural University (01):88-92.

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

<center>'''An Analysis of English Translation of Luotuo Xiangzi from the Perspecctive of Rewriting Theory'''</center>

<center>Sun Lijun</center>

===Abstract===
Traditionally, translation is regarded as a kind of linguistic conversion, which means translating the source text from one language into another. And with further and deep study of translation, Bassnett and Lefevere went beyond the level of language, focusing on the mutual interaction between translation and culture, and the influences and restrictions of culture on translation. Therefore, the move from translation as text to translation as culture and politics is termed as the cultural turn. Rewriting Theory, proposed by Lefevere, is the representative fruit of the translation studies on culture, exerting profound influence on academia. Rewriting Theory shows that translation is regarded as rewriting, which is mainly constrained by the dominant poetics, ideology and patronage under certain backgrounds.
Luotuo Xiangzi, writtten by Lao She in the year of 1939, is one of the representative masterpieces of Chinese classics, gaining great popularity both at home and abroad since its first English version, translated by the American translator Evan King in 1945, came out. And this translated text obtained great success in America, which establishing Lao She’s reputation as a writer in the international literary circle. However, due to the inequivalence to the source text, Evan King’s translated work invited some critics from Chinese scholars even unsatisfied the original author Lao She himself. Thereafter, this short essay will briefly analyze the translation of Luotuo Xiangzi by Evan King from the perspective of Rewriting Theory, trying to find out the influences the dominant poetics, ideology and patronage exert on translation.

===Key words===
Luotuo Xiangzi; rewriting theory; translation

===Introduction===
As is known to all, translation is a kind of special and creative activity carried out in a certain context. And it is influenced by some certain activities of the society at one hand, while on the other hand, translation is also restricted by some factors of the works and the writers themselves. In a word, translation plays an essential and pivotal role in communicating and exchanging ideas in this global village. And with further cultural exchanges, some foreign masterworks have been introduced into China, broadening people’s horizon and enriching their daily life and spiritual life in China; also, some Chinese classics have been translated abroad and made foreign friends get a better understanding of Chinese culture. As one representative work of Chinese modern classics, Luotuo Xiangzi has been translated into several versions by some famous translators at home and abroad, including Evan King’s Rickshaw Boy, Jean M.James’ Rickshaw: The Novel Lo-t’o Hsiang Tzu, and Shu Xiaojing’s Camel Xiangzi. And due to the three English versions translated aboard, Luotuo Xiangzi turned out to be a huge hit as soon as it was published. However, as the first translated version in English, though wildly welcomed among American readers, it invited some terrible criticism made by the Chinese literary circles for Evan King broke the rule of equivalence and he did a lot of rewritings. Throughout the history of translation, we can tell that being true to the original text is of paramount importance no matter from the “faithfulness, expressiveness and elegance” proposed by the famous Chinese scholar Yan Fu or the “dynamic equivalence” or “functional equivalence” initiated by Eugene A. Nida. However, those translation theories concentrate on the source-text-oriented methods and techniques, paying much attention to how to translate the original text faithfully into the target text, which represents a kind of static status and mainly focuses on the linguistic level. However, as the march of translation studies, some scholars have studied translation approach from the perspective of culture, attempting to put translation into a larger context. Thus translation studies was labeled with cultural turn from then on. And the polysystem theory and rewriting theory were representatives in this regard. Taking the dominant poetics, ideology and patronage into consideration, Lefevere’s rewriting theory then exerted profound influence in the later translation studies, providing a brand new viewing angle for individuals who engage in the translation studies. Given the Evan King's translated version, it is of terrific significance to explore the underlying reasons why Evan King did a lot of rewritings to Lao She's Luotuo Xiangzi on the framework of Lefevere's rewriting theory.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译仝雨梦 Tong Yumeng 202170081594 MW==

<center>'''A Comparison of The Analects Translated by James Legge and Ku Hungming'''</center>

<center>Tong Yumeng</center>

===Abstract===
Confucius is a great thinker and educator in ancient China, the founder of the Confucian school, and one of the world's most famous cultural figures. As the only book recording the sayings and discourse between Confucius and his disciples, The Analects is a classic of Confucianism as well as of Chinese civilization. Up to now, there have been nearly forty English translations of The Analects, which indicates the importance of this work in China and western countries. This paper mainly focuses on two English translations of The Analects published in 1861 and in 1898 respectively. One is translated by James Legge, a Scottish protestant missionary of London Missionary Society. The other is the translation of Ku Hung-Ming, an extreme cultural conservative and a strong advocate of Confucianism at the turn of the 19th and 20th centuries. By comparing the two English translations, the paper tries hard to trace back their translating processes, find out the criteria used in interpreting the original text, and summarize the strategies adopted to resolve cultural conflicts in translation. Besides adopting the traditional translation theories, this paper conducts its investigation from the perspective of functionalist "skopos theory" and theories of Lefevere. At last, the paper also mentions the influence of the two English versions of The Analects and the images of Confucius they have helped construct.

===Key words===
Confucius, Legge, The Analects, English Translation

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译童略雅 Tong Lueya 202170081595 CE==

<center>'''A Brief Analysis of Reading Strategies of Chinese Classics in a Digitalization Era'''</center>

<center>Tong lueya</center>

===Abstract===
With the rapid development of the society and the in - depth application of science and technology, people’s traditional production and living habits have been gradually changed. And their reading habits, reading time, reading preferences and reading content have also shown new characteristics. Especially with the mature application of science and technology such as Internet, intelligent handheld device, cloud computing, big data and so on in various fields, the reading mode of readers has gradually changed from systematic reading to fragmented reading. Classic works are the crystallization of human civilization. Reading classic works is of great significance to individual growth and social development. It cannot be overemphasized to promote classic reading. This paper analyzes the status of classic reading in a digitalization era, and then attempts to put forward some suggestions in classics reading. In this way, it hoped that people could realize the significance of reading classics and then form good habits to reading them.

===Key words===
Classics reading; strategies; digitalization

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译庹树梅 Tuo Shumei 202170081596 MW==

<center>'''The Cantonization of the Dream of Red Mansions'''</center>

<center>庹树梅</center>

===Abstract===
As a treasure of Chinese literature and an important source of cultural confidence for the Chinese nation, Dream of the Red Chamber has been disseminated in the English-speaking world for two hundred years. Under the multiple views of traditional historiography, neo-Hanology, neo-history and neo-Songology, Dream of the Red Chamber has been transformed from a "historical text" to a "classic text" and has undergone an evolutionary path from an academic research classic to a literary classic and then to a cultural classic. The first chapter of this paper discusses what classicization is. The second chapter discusses why Dream of the Red Chamber has become a classic work and analyzes its intrinsic literary value. The third chapter discusses the impact of the classicization of Dream of the Red Chamber on the influence of Chinese culture in the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译王思琪 Wang Siqi 202170081597 CE==
A Study on C-E Translation of The Book of Songs from the Perspective of Xu Yuanchong’s Theory of Three Beauties

20220630 Classics 3

2022-07-02T10:06:38Z

Liu Yao: /* Conclusion */

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==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Study on the Canonization of Chinese Modern Poetry'''</center>

<center>Liu Ting</center>

===Abstract===

It has been more than a century since the birth of Chinese Modern Poetry, also known as the new poetry. As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to Chinese ancient poetry and songs, which have a long history and cultural accumulation. So, its canonization has always been the common concern of writers, scholars and researchers. In any country, canonization of any literary work is a long and complicated process in terms of time and mechanism. The canonization of new poetry has rich texture in the synchronic and diachronic aspects of literary history. This paper analyzes the essential characteristics of the so-called "classic" works and points out the problems faced by the canonization of new poetry and only by solving these problems can the canonization of Chinese modern poetry be put on the right track.

===Key words===

Chinese modern poetry, canonization, classic work

===1. Introduction===

Chinese Modern Poetry, also known as the new poetry, refers to the poetry genre that emerged around the May Fourth Movement, which is different from the Chinese classical poetry and uses vernacular when it is composed.

During the development of Chinese literature, poetry, including Han Fu, Tang poems, Song Ci, Yuan Qu, had achieved great successes. However, in modern times, the creation of classical poetry gradually became rigid, using lots of clichés, and the words used in classical poems were seriously disconnected from modern spoken language. The strict restrictions on the form including the verse style, rhyme, allusions etc., were a great constraint on poetry's ability to express the ever-changing and increasingly complex social life and to express people's true thoughts and feelings. Therefore, the new poetry revolution became the first and most important part of the New Literary Movement in the May Fourth period.

As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to the old poetry and songs, which have a long history and cultural accumulation. But with its freedom, flexibility, and versatility, new poetry has maintained its creative vigor and vitality over the past century. From form to content, from creation and dissemination to influence, new poetry can be said to be relatively complete, vigorous and uncompromising.

The issue of literary classics and the canonization of literary works is a hot issue that has always been of concern to academics. In terms of the classical quality of poetry, the power that new poetry has contributed to the history of Chinese poetry over the past century should not be underestimated. As far as the century of Chinese new poetry is concerned, the modern new poetry classics and the rationality of their canonization have been gradually recognized in recent studies, while the issue of its canonizaton is quite controversial. Canonization is actually a process rather than a result. Many scholars have doubts about whether "Canonization" of new poetry is a valid term, because the time of generation and development of them is still short compared with that of Chinese classical poetry, and "classics" must go through layers of elision by years and readers, and through the heavy burden of generations. The reason is that the generation and development of contemporary new poetry is still short compared to that of modern new poetry, and the "classics" must go through the test of time. Of course, this is the general understanding of the generation of classics, but while seeing the ephemeral nature of the generation of "classics", we should also see the commonality of the generation of them.

By clarifying the defining characteristics of Chinese new poetry and classic works, this paper points out the difficulties and misunderstandings encountered in the canonization of Chinese new poetry today, and only by solving these problems and breaking these misunderstandings can the canonization of Chinese modern poetry be put on the right track.

===2. Chinese Modern Poetry===

To solve the problem of canonization of Chinese modern poetry, first and foremost, it is necessary to have an understanding of it. This chapter introduces the development of new poetry, its representative figures, the literary characteristics of poetry and its achievements.

2.1 Development of Chinese Modern poetry

Compared with drama, novel and prose, the century-long development of Chinese modern poetry is relatively weak. Novel and prose, after all, still has Lu Xun, Ba Jin and Lao She; drama has Cao Yu, Lao She and; all these writers have been recognized by the world. Poetry, on the other hand, lacks such figures. New poetry faces two peaks that are difficult to surpass: one is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare. The existence of poetry requires the existence of a refined and mature national language, and poetry is most closely connected to language, while modern Chinese has only been existed around for a century. Nevertheless, achievements of Chinese modern poetry are remarkable. The most important development stage of it was the first thirty years after its birth.

2.1.1 The first decade

At the experimental stage, Hu Shi was regarded as "the first vernacular poet." His Trying Collection (1920) was "a bridge” between the old and new poetry. Individual poems at this time had modern lyrical forms, but most of them still could not escape from the formal tradition of classical poetry. The techniques of the new poetry were firstly, "line drawing" and secondly, metaphorical symbolism. The early vernacular poems are thus divided into two categories: the first is the objective realistic tendency of using white description; the second is the modernist tendency of putting things into context. The latter is not common in traditional poetry.

At the foundational stage, Guo Moruo's "Goddess" (1921) was the foundation of Chinese new poetry. The lyrical nature of poetry and the individuality of it were given full attention and play, and the strange and daring imagination really made the wings of poetry soar. " The free spirit of the May Fourth Era and the artistic rules of poetry itself are fully reflected in this collection.

At the normalization stage, if "Goddess" broke the traditional poetic rules with the spirit of "absolute freedom and absolute autonomy", the New Moon School was born in response to the need, with Wen Yiduo, Xu Zhimo, Zhu Xiang and Lin Huiyin as its representatives, advocating "rational moderation of emotions". " Wen Yiduo advocated the metrical and standard patterns of the new poetry and proposed the theory of "three beauties" of poetry: music beauty (level and oblique tones and rhyme), pictorial beauty (the theory that Chinese poetry and painting are connected), and architectural beauty (proportionality of stanzas and evenness of sentences).

2.1.2 The Second Decade

The Chinese Poetry Society was a mass poetry group led by the Left League, inheriting the early proletarian poetry tradition of Jiang Guangci from the previous decade, with Yin Fu as its representative. The characteristics were: first, reflecting the revolutionary struggle and major events of the times; second, emphasizing the ideologization of poetry, the subject of poetry was not the poet himself but a fighting collective; third, focusing on realism in artistic expression. This somewhat deviated from the essence of poetry, which is the catharsis of individual's emotions.

In the later period, the poems of the New Moon School shifted the focus of their lyricism to the "trembling of the soul" and the alienation of the modern human spirit. Xu Zhimo's "Collection of Fierce Tigers" and "Collection of Cloudy Travels" are representative of this. "Farewell to Cambridge Again" belongs to this period, but its mood is still a remnant of the previous one. New poets, such as Chen Mengjia and Fang Wei De, were students of Xu Zhimo. And the poetry at this period, borrowed the form of sonnets.

Shi zhe was another poet at this period. He emphasized the need to write purely modern poetry, which is genealogically related to the early Symbolist poetry and used modern rhetoric to arrange modern poetic forms. The "leaders of the poetry world" at this time is Dai Wangshu and Bian Zhilin. Dai Wangshu was known as the "Rainy Lane Poet" with his poem "Rainy Lane". Bian Zhilin, on the other hand, was influenced by Xu Zhimo and Dai Wangshu, and provided something new to the new poetry, namely, a shift from the main emotion to the main intellect. He was one of the poets in the history of new poetry who was consciously philosophical, and his poetry was surprising in its simplicity because he was good at penetrating and exploring the phenomena of daily life philosophically.

2.1.3 The Third Decade

Ai Qing accomplished the task of "synthesis" in the history of Chinese poetry. On the one hand, he insisted on developing the realistic and fighting tradition of the poets of the Chinese Poetry Society, on the other hand, he overcame and abandoned their weaknesses of "childish shouting", and at the same time, he critically absorbed some of the achievements of the modern poets in their artistic exploration of new poetry, further enriching and developing the art of poetry. He drew on the passion of Guo Moruo and the pursuit of external forms of the New Moon School, and Ai Qing began to pursue an inner beauty in Chinese new poetry. He became the most influential poet of the third decade. He was also one of the first new Chinese poets to go global.

At the beginning of the war, the Chinese Poetry Society, the New Moon School, and the Modernist poets all sang the battle hymn of national liberation. During the war period, the debate over the aesthetic and artistic characteristics of poetry and political propaganda brought people to a new level of understanding of the content and form of poetry. There were many academic works that raised the artistic discussion of new poetry to a theoretical level: Ai Qing's "Essay on Poetry", Zhu Ziqing's "Miscellaneous Discussions on New Poetry", Li Guangtian's "The Art of Poetry", and so on. Zang Kejia wrote "Songs of the Clay" and Dai Wangshu wrote "Years of Catastrophe", and there was a transformation of style, integrating the "small self" into the "big self". The most influential poetry school during this period was the July Poetry School. Under the influence of Ai Qing, this school of poetry was formed by Hu Feng as the center, with July and other publications as the main base. It advocated revolutionary realism and free verse as its main banner, and had a great influence in the National Unification Area.

After the end of the war, the new poetry took on a new life. In literary history, the Nine Poets school led by Mu Dan are known as the "New Chinese Poetry School". They emphasized, first, the modernization of the way of thinking about poetry. The second was the extreme importance attached to the application of everyday language and the rhythm of speech. "Only words and rhythms that are varied, flexible, fresh, and vivid can properly and effectively express the strange sensitivity of the modern poet's senses and the rapid changes in his thoughts." The emphasis on the basic transformation of poetic thinking and language, which characterized the Chinese New Poetry School, also concentrates on its rebelliousness and heterogeneity, which precisely echoed the claims of early vernacular poetry in a distant way.

2.2 Value of Chinese Modern poetry

The value and significance of modern Chinese poetry does not only lie in the depth and breadth of thought and emotion expressed in the works of its outstanding writers and artistic thinking, but is also closely related to the cultural characteristics it reflects. As representatives of modern Chinese intellectuals with the most prominent self-awareness, the cultural consciousness of modern Chinese poets and their many outstanding creations not only provides readers with a rich and unique scope of understanding and propositions at the level of ideology, but also gives a taste of the free power and will of their individual lives in the vibration of the intersection of different cultures and the care of national emotions.

Chinese modern poetry has been following the changes in the future and destiny of the nation, and has been deeply concerned with the suffering of the masses, especially the creation of realistic poetry, which integrates realism and lyricism into one, has gained great significance. Guo Moruo's "Phoenix Nirvana", Wen Yiduo's "Dead Water", Dai Wangshu's "I Use My Broken Palms", Zang Kejia's "Old Horse" and Ai Qing's "Snow Falling on the Land of China" all belong to this category, and they are all typical modern poems with the theme of worrying about the country and the people. As a "social discourse for the masses" with strong, sharp values and realistic concerns, they indeed disclose the heavy and oppressive environment of the time and the sense of suffering and crisis caused by the increasing destruction of modern China by the real oppressors and invaders, and those politicized complaints of grief and anger processed by the authors' reason and emotion also inherit the sense of historical mission of classical Chinese poetry: "Essays are written for the time, songs and poems are written for the matter. "The poetry of modern poets, however, is not as good as that of classical poetry. However, in contrast to classical poetry, modern poets have been able to consciously strengthen their "self-awareness" in the midst of successive social changes, national suffering, and political turmoil, thus examining the close relationship between the changes of the times, public suffering, and the poet with the poet's real identity and vision, and integrating the poet's independent "self-awareness" into the "self-awareness" of the poet. The poet's independent "self-consciousness" is integrated into the "social discourse of the masses"

Since the real feeling of individual independence and emancipation and its cultural and psychological structure have gained a dominant position in modern China, the modernization of Chinese poetry is gradually free from the traditional aesthetic thought's domination and bondage to the poet's personalized historical experience and unique feeling in the continuous farewell to the traditional consciousness of classical poetry. In other words, many modern poets have become the most important poets. In other words, many modern poets have achieved complete emancipation from the classical poetic consciousness with a very distinctive personal character. Nevertheless, modern poetry has clearly increased its tendency to express "motherly emotions" accompanied by sorrow and grief. Bing Xin's small poems, for example, have a great deal of motherly love and tenderness molten into the artistic world she has constructed, fully reflecting the modern woman's self-consciousness, and vividly embodying the modern intellectual woman's painful independent personality of "living in evil but loving goodness", which is a struggle of the inner soul. Classical poetry generally does not reveal the oppressive factors of women's existence from the perspective of women's care, and often examines women's lives with a tragic vision and a sense of suffering. In contrast, the new poetry tries to explore women's unique life consciousness, emotional imagery and their inner flashing moments of perception, in order to replace the vague and hazy or generally suppressed monotonous and long-lasting sadness of classical poetry, whose overall sense of life and overall mood underline the poet's deep concern for women's cultural consciousness. In this sense, modern poetry has gained its own vitality because of the significance of women's cultural awakening.

To sum up, the general awakening and vigorous exploration of the self-consciousness of modern Chinese poets has given modern poetry a more independent, profound, liberating and new way of thinking and value of thought and art, different from the classical poetry.

===3. What is Classic===

From the reality of Chinese literature in the 20th century, both the discussion on whether there are classics in modern literature and the sense of anxiety crisis about the classics of modern literature are greatly related to the understanding of the meaning of classics. I have the following four understandings of the connotation of the classics.

First of all, in terms of spiritual meaning, literary classics shine with the light of thought. It is often rooted in the times, showing the distinctive spirit of the times, with the character of historical reality, but also outlines and reveals the far-reaching rich cultural connotations and human implications, with the transcendent open character. It often raises fundamental questions about human spiritual life, such as man and nature, man and society, and man and himself. At the same time, classics and classical interpretation have a close relationship, and classics must be continuously compiled and organized, accepted and disseminated, and revered in order to become classics. Original classics also need original interpretation, and original interpretation may become new classics or have new classical characteristics.

Secondly, from the point of view of artistic aesthetics, literary classics should have a "poetic" connotation. It is the creation of an irreducible artistic world permeated by the writer's unique worldview, which can provide some kind of aesthetic experience that no one has ever provided before. It is a unique aesthetic grasp of the world based on sensual life, spiritual needs, and even the individual and collective unconscious. This aesthetic grasp, through original efforts, incorporates the rich and colorful world of the mind and the vivid and rich real life, and also absorbs the past and future life into the present with the "time field of presence" that is generated and acted upon. The literary classics created in this way can make the human nature and human heart connected, and the heart of literature and poetry connected, so that the culture and literature of different periods can get deep communication.

Thirdly, from the perspective of national characteristics, literary classics often open a new chapter in the history of national literature, with the value of "history". That is to say, the literary classics can promote a nation's language and thought to a new platform. Just like Shakespeare's modernity in English and English literature, Pushkin's modernity in Russian and Russian literature, Lu Xun and the new literary classics in the May Fourth era also pushed our national language and thought to a new height and a new platform through the original artistic world of modern Chinese. This made it possible for the writers and theorists of modern literature to operate, communicate and create on this platform, and thus a series of classical achievements emerged.

Fourthly, from the acceptance of the classics, literary classics must be accepted and appreciated by the majority of readers. There are indeed many classics of highbrow literature, but those that are loved, recognized, appreciated and enchanted by a wide audience are the classics of classics. The "Three Hundred Tang Poems" have been printed countless times, with billions of readers. Therefore, a classic work must be a work respected by the public, and it must conform to the public's value orientation, respond to the public's will and pursuit, in order to constantly renew new vitality and vitality in order to be immortalized.

===4. Problems about Canonization===

Although a number of well-received classics of Chinese modern poetry have emerged or are being classicized in its hundred years of development, there are still many problems that need to be solved. Only by solving these problems and recognizing some misconceptions can we better promote the process of canonization of new poetry.

The first problem is the vision of the selector. As it mentioned above: the classics are often rooted in the times, not only displaying the distinctive spirit of the times, but also summarizing and revealing the far-reaching and rich cultural connotation and the meaning of human nature and having the character of transcendent openness. Therefore, there is a need for selectors and editors with vision, thoughtfulness, noble character and culture to select and recommend Chinese modern poems that can be regarded as classics for us. However, some selectors and editors lack a comprehensive, objective and fair vision when they compile anthologies such as "New Poetry Classics of 100 years". They choose poems according to their own preferences, and choose whoever I want to choose, and let whoever I want to stand aside stand aside. In this way, some fine and classic works with superior ideology and art are blocked and rejected by him, while some unknown works with low artistic achievement and simple connotation are regarded as classics by him. In view of this we should strictly screen the professionals to ensure that they can take a serious and responsible attitude, be unbiased, to prepare an excellent collection of selected new poetry classics for everyone to appreciate, read and taste, and promote the process of canonization of new poetry.

The second problem is the vision of a literary historian. As mentioned above: literary classics often open a new chapter in the history of national literature, with the value of "history". Therefore, literary historians play a crucial role in the process of canonization of Chinese modern poetry. If a poet's poems enter the history of literature and new poetry, and are recommended and analyzed as a key poet, it seems that he will definitely be a "classic poet" and his poems "classic poems ". However, it should also be recognized that many literary historians are unable to be unbiased, and the literary and poetry histories they have written have obscured and blocked many new poetry works that have had a significant impact, and inappropriately regarded some works that readers know nothing about as masterpieces.

The third problem is the selection of Chinese modern poems in Chinese textbooks. The role of Chinese textbooks is crucial to the canonization of poetry. In my personal experience, those textbooks are more inclined to poems with aesthetic nature, complex connotations, focus on the experience of life, the beauty of humanity, etc.. However, the sense of the times is often not strong enough. Some "purely lyrical" poems are necessary, but masterpieces that reflect the spirit of the times and real life should not be completely excluded. Language teaching materials are responsible for the canonization of new poetry.

The fourth problem is the education and teaching of new poetry. When it comes to the selection and editing of new poems in Chinese textbooks, the issue of education and teaching of new poems is naturally inseparable. The canonization of poetry is inevitably associated with poetry reading, and the level, form and state of poetry reading are obviously subject to the various stages and levels of contemporary poetry education and literary education, the latter's influence on aesthetic ability and aesthetic intuition is evident to all. In reality, few teachers are willing to make great efforts to guide students to appreciate the beauty of Chinese modern poetry, and few students are really interested in them. The reasons for this are many. The first reason is that modern poetry has a low status. Chinese modern poetry is far inferior to classical poetry, which has a cultural history of several thousand years, in terms of quantity and quality, as well as the number of poets. Another important reason for the low status of modern poetry in language teaching is that it is not considered as part of the test in China's exam-oriented education. The appreciation of ancient poetry, instead of modern poetry, is often taken as a key test in the examination of poetry appreciation, and when students are asked to write something, it is often explicitly state that the genre is not limited except for poetry, etc. Secondly, teachers' poetry literacy is not good enough. The poetry literacy of Chinese teachers directly affects the quality of poetry teaching. For a long time, modern poetry is a niche literature in Chinese literature, and people in general like to listen to stories but not to read poems, to read novels but not to read poetry collections, and even many Chinese teachers have very little experience of modern poetry, very little knowledge reserve of modern poetry, and not high poetry literacy. This directly leads to the fact that in order to complete the teaching plan, teachers will only boringly read from the text and cannot well guide students to appreciate the beauty of modern poetry. Some teachers even teach it quickly and do not seek for teaching quality, which greatly erases students' interest in learning poetry.

The fifth problem is the public's awareness. The making of "classic" new poems is closely related to society, media and education. The repeated selection and publication by publishers, the repeated broadcasting and promotion by TV, radio and newspapers, and the long-term "required reading" in Chinese textbooks are the most important channels for the creation of classics. In addition, the awareness of the public is also an important factor. However, Chinese modern poetry is still far from being publicized, and only a certain circle of people knows about the new poems, while the rest of the people can only recite or memorize few poems that are selected for language textbooks, which is far from enough. The most important factor in the highest achievement of Tang poetry in ancient China lines in the its high quality and higher production, while new poetry, except for the rapid development in the first thirty years, has seen fewer and fewer excellent poets emerge in the later period, gradually fading out of the ordinary people's view. In view of this, relevant institutions can organize some programs and activities, so as to publicize Chinese modern poetry; hold related competitions, so as to reward the creation of new poems.

===5. Conclusion===

For Chinese poetry, it is a remarkable thing to leave so many influential, distinctive and standard works to posterity with only a hundred years of development. And the study and research of the canonization of Chinese poetry is also very meaningful. But the canonization of modern poetry is a long way to go and requires a lot of efforts.

In this paper, we analyze the development and value of modern Chinese poetry, introduce the elements of excellent classical works, and point out five problems in the canonization of modern poetry nowadays. The author hopes that these five problems can be properly solved in the future, so as to promote the process of poetry canonization. The classic poems we select are not necessarily the most valuable works, nor are they necessarily the works with the greatest room for interpretation, nor are they necessarily of high literary achievement, nor do they necessarily reflect the characteristics of the times most accurately, but the selection of classic poems should reflect the basic consensus of readers and be widely accepted. The new poetry classics can look for excellent works that can serve as spiritual resources, value formation and value cultivation for our younger generation and our public, while also taking into account the characteristics of the Chinese language itself. Canonization is not something that can be accomplished by any one generation, and the process of canonization requires different or the same efforts from different generations.

In short, excellent works will overcome the test of time and be immortalized and enshrined as classics.

===References===

===Terms and Expressions===

Chinese modern poetry 中国现代诗歌

Canonization 经典化；承认为圣典

Synchronic 共时性的

Diachronic 历时性的

Go global 走出去

Vernacular poem 白话诗

Lyrical poems 抒情诗

Highbrow literature 高雅的文学作品；阳春白雪

Chinese textbook 语文课本

Knowledge reserve 知识储备

Rhythm 格律；韵律

Artistic aesthetics 艺术审美

===Questions===

1. Who was regarded as "the first vernacular poet"?

2. New poetry faces two peaks that are difficult to surpass. What are they?

3. In China's exam-oriented education, which one is more likely to be examined, ancient poetry or modern poetry?

===Answers===

1. Hu Shi.

2. One is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare.

3. Ancient poetry

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On the Domestication in Self-translation—A Case Study of ''Taipei People'''''</center>

<center>Liu Yao 刘瑶</center>

===Abstract===
Self-translation enjoys a long history, but for various reasons, it has only gradually attracted the attention of the translation field in the past thirty years. The domestic studies of self-translation mainly focus on the self-translated works of Lin Yutang and Eileen Chang, and relatively little attention has been paid to other self-translators like Pai Hsien-yung and their self-translated works. Therefore, by analyzing Pai Hsien-yung's self-translated work ''Taipei People'', this paper aims to reveal the translation strategies and methods used by self-translators in translating their own works, so as to enrich the study of self-translation.

Self-translation, as a special mode of translation, is different from other-translation, which is a more traditional mode. In a self-translated work, the translator has two identities, that is the author of the original text and the translated text. Due to this relation, the translator has a deeper understanding of the original work and can convey the ideas of the original text more accurately in the translation process. In the meanwhile, compared with other translators, self-translators are braver and more free to modify the translation in the process of translation, which is further reflected in the translation’ s more accurate communication of the ideas of the original work. In order to convey the message of the original work, self-translators tend to choose the strategy of domestication in order to bring the translation closer to the readers. This paper will analyze Pai Hsien-yung’ s self-translated work ''Taipei People'' and explore the domestication strategy he used in his translation to achieve some specific purposes. The choice of this translation strategy reflects the self-translator’ s profound master of the original work and also offers certain implications to the translation of other literary works.

===Key words===
self-translated works, domestication, ''Taipei People''

===Introduction===
Xia Zhiqing (1969: 39), a well-known literary critic of China, praised Pai Hsien-yung as "a rare genius among contemporary short-story writers" in his long article and argued that "there are only five or six people including Lu Xun and Zhang Eiling who can compare with or surpass Pai Hsien-yung's later novels in terms of artistic achievement." As a famous Chinese writer, Pai Hsien-yung has written many popular works, and his masterpiece ''Taipei People'' was selected as the seventh of the top 100 Chinese novels of the 20th century by ''Asiaweek'', which is the highest ranking of the works of Chinese writers alive. ''Taipei People'' is a collection of deeply complex short stories, in which 14 short stories depict the transformation of the lives of people from all walks of life in Taiwan during the transition from the old to the new era, with a sense of the rise and fall of history and the vicissitudes of the human world.

The English translation of ''Taipei People'' was done by author Pai Hsien-yung and translator Patia Yasin, and edited by renowned translator George Kao. In 1982, Pai Hsien-yung and Patia Yasin translated ''Taipei People'' into English and published it by Indiana University Press, using the English title of one chapter of the novel ''Wandering in the Garden, Waking from a Dream: Tales of Taipei Characters'' as the title of the collection. In 2000, a new translation was published by the Chinese University of Hong Kong Press, and the title was changed to ''Taipei People''. In 2013, Guangxi Normal University Press introduced a Chinese-English version of ''Taipei People''. During the process of translating this novel, due to the special identity of the translator, in order to better convey the deeper meanings and ideas in the original work, the translator chose the translation strategy of domestication at most of the time, so as to better present the original content and its deeper meanings to the foreign readers.

As the author of the work himself, Pai Hsien-yung sincerely affirmed the significance of ''Taipei People''. The high praise of the work from the outside world made him more certain of its value, and his bilingual and bicultural abilities convinced him that he could accomplish the task of self-translation. What's more, out of his identity as an author and his pursuit of self-perfection, he and his co-translator Patia Yasin actively engaged in cultural discussions. After continuous discussions and corrections, they strove to achieve a perfect translation. At the same time, as a self-translator, Pai Hsien-yung is more concerned about the acceptance of the translation in target language culture and the expectations of target readers, so he prefers to adopt a translation strategy based on domestication, and flexible and varied translation methods such as direct translation, free translation, addition, and transliteration, in an effort to absorb the meaning and form of the original work and try to achieve equivalence.

===Literature Review===
'''Definition of Self-translation'''

Self-translation refers to a translation pattern with specific meaning, usually the self-translation of literature. Grutman (1997: 17) in his ''Routledge Encyclopedia of Translation Studies'' defines it as "the act of translating one's own work or the result of that act." He also emphasizes internal intertextuality among texts and claims that there are two different types of self-translation, namely simultaneous self-translation and delayed self-translation. Grutman has also discussed in detail with Van Bolderen ( 2014: 325-327) discuss in detail the motivation of writers' self-translation. In their view, the motivation of writers to translate themselves can be summarized as the following four points: first, they hope to gain new and more readers; second, being in a foreign country is a catalyst for writers to translate themselves; third, they translate themselves in order to solve certain practical problems, such as economic problems, ideological audit problems, etc.; fourth, they are dissatisfied with existing translations or fear that handing over their works to others for translation will damage their works. In China, many modern and contemporary writers, represented by Eileen Chang, Lin Yutang and Pai Hsien-yung, have translated their own works.

There are three groups of scholars holding different viewpoints respectively in academic circle with regard to whether self-translation falls into the category of translation. The first group deems that self-translation in nature is one type of translation irrespective of its creativity. The second group holds that self-translation cannot be regarded as genuine translation but rewriting or re-creation of the original text. There are also some scholars who insist that self-translation is neither pure translation nor mere creation but a variant produced when the translator reshapes himself. This paper believes that self-translation depends more on self-translators' faithfulness to the original work. Therefore, self-translation belongs to the category of translation though its creative features and the self-translators' subjectivity are more prominent than conventional translators（Zhen Yantong，2019）.

'''Previous Studies on Pai Hsien-yung and His Self-translation ''Taipei People'''''

This paper is aimed at making an analysis of Pai Hsien-yung's self-translation of his work ''Taipei People'' to probe into the features of self-translation. Therefore, it is necessary to get an overview about the author, the work itself, the present translation of ''Taipei People'' and previous studies concerning its self-translation.

'''Brief introduction to Pai Hsien-yung and ''Taipei People'''''

Pai Hsien-yung, was born as the fifth son of the distinguished military strategist Pai Ch'ung-hsi in 1937 when the War of Resistance against Japan broke out. In 1965, he received his B.A from Taiwan University in 1961 and his M.F.A from the International Writers' Workshop at the University of Iowa. From 1965 to 1993, he taught Chinese language and literature in the East Asian Studies Program at UCCSB. Thanks to his rich life experiences, he has published a great majority of short stories, a full-length novel, and a number of essays.

According to Pai Hsien-yung's anthology, he has also conducted four self-translation activities, involving three books, namely ''Hong Kong 1960'', ''Zhexian ji'' and ''Taipei People''. ''Taipei People'' consists of fourteen stories which recount the latter-day careers of assorted mainlanders who sought refuge in Taiwan in the 1950s. While only several of them has been translated due to great translation difficulty, for instance, ''The External Yin Hsueh-yen'', ''New Year's Eve'', ''Jung's by the Blossom Bridge'' and ''One Winter Evening''. Therefore, in 1982, Pai Hsien-yung, with the help of Patia Yasin and George Kao, self-translated and Published the first version of ''Taipei People'' which is titled as ''Wandering in the Garden, Waking from a Dream'' with a subtitle Tales of ''Taipei Characters''. And this version then was revised to ''Taipei People'' and published in 2000 by Chinese University Press of Hong Kong.

'''Previous Studies on Self-translation of ''Taipei People'''''

Only a few studies focus on the translation of ''Taipei People'' due to the limited translated version of it. According to the papers and journals collected, studies related to it are summarized as follows.

Wu Bo (2004) points out that the translator's task must not be simply summarized as "faithful to the author and the original". As a factor with the strongest subjective initiative in the translation, the translator's ultimate task is to reconstruct the original work by personally intervening in the translation and reconstructing the original to a certain extent. At the same time, the translator explores the similarities and differences between the source culture and the target culture, which promotes the dialogue between the original text and the translation. Chen Jirong and Xia Tingde (2010) hold that Pai Hsien-yung's self-translation highlights creativity and relevance. Starting from practical experience，they divide his self-translation into three stages and discuss his self-translated works from the relationship between self -translation and conventional translation, dialectical relationship between the language of creation and the language of translation，dialectical relationship between the author and the translator. They also praise Pai's emphasis on the historicity of translation, cosmopolitan vernacular and the continuity of translation.Zhu Jing (2012) takes ''Taipei People'' as an example to explore the self-translation of literary works under the guidance of translation ethics. She finds that self-translators with dual subjectivity have high reader consciousness and they can boldly modify the source text to make the translation conform to the norms of the target language and obtain higher literary and aesthetic effects. Through a study of Pai Hsien-yung's self-translated work ''Taipei People'', Yu Rongqi (2014) found that in order to be faithful to the original text, retain the unique expressions of Chinese, and convey the symbolic meaning and cultural factors of the original, the self-translator adopts a variety of different approaches to translating the names of characters and Chinese characteristic words in the novel, reflecting his unique understanding of the purpose and connotation of the translation. This also indicates that the self-translators have greater autonomy in their translations than ordinary translators, and in order to achieve their specific translation purposes, the self-translators will have their own unique insights in the choice of translation strategies. Yang Lin (2015) argues that the analysis of self-translating activities of self-translators can also provide some insight into the activities of translating others. Translation requires fidelity, but fidelity does not require complete reciprocity. She argues that on the one hand, we should understand the original text more deeply and then reproduce it precisely, while on the other hand, we should not focus too much on the gain or loss of a word or a sentence, but should pay more attention to the communication of the spirit of the work, just like the "intertextual coherence" proposed by Vermeer, i.e. we should focus on the overall. Only in this way can we obtain a translation that is more acceptable to readers in the culture of the target language. Chen Xi and Li Xiaoxiang (2016) attempt to examine Pai Hsien-yung's translation ethics by analyzing his translation strategies and translation beliefs in the self-translation of ''Taipei People''. The study indicates that self-translation of names is more in line with the author's creative intention and closer to the theme. In this way, he takes Pai Hsien-yung as a reference to inspire conventional translation and provides some suggestions for translation of literary works. In the light of Bourdieu's theory of habitus, Liu Xiaofeng and Ma Huijuan (2016) investigate the development, features and interrelation of Pai Hsien-yung's literary habitus and translation habitus, and explicate that the self-translation of ''Taipei People'' is the result of structuration of the translator's literary habitus and translation habitus, as well as his group's habitus. Based on sociological theory and especially the concepts of habitus, capital and field, Song Shizhen and Wang Hongtao (2017) try to make a comprehensive and in-depth analysis of the translation and transmission of ''Taipei People'' in different literary fields. The paper discusses the self-translator's intervention in the self-translation activity and influence of cultural capital and social capital on the translation practice in order to reveal the social operation mechanism behind its successful transmission. Song Xueqi (2018) chooses Eileen Chang and Pai Hsien-yung as the research objects, who are the self-translators with similar bilingual competence. Their self-translation works The Golden Cangue and Winter Night from ''Taipei People'' are analyzed. By comparing their re-creation level and the pattern of its manifestation during their translation activity, Song aims at exploring whether bilingual competence is the influence factor on translating and re-creation, and how it affects the relationship between translating and re-creation. Based on Andre Lefevere's theory of patronage, Guo Jia (2019) comprehensively described the various appellation translation methods in the book of ''Taipei People'', analyzing the reason for diverse translation methods via a number of appellation translation examples with the help of paratexts, narrations, interviews and correspondence. The conclusion is that appellation translation in literary works requires more flexibility. Yuan Yuan (2019) analyzes four types of cultural load words in English translation from the perspective of schema theory: overlap, dislocation, default and conflict, summarizes the cultural schema correspondence of Chinese-English cultural load words, and proposes corresponding translation strategies for the translation of cultural load words under these four types of cultural schemas by taking the Chinese-English version of ''Taipei People'' as a case study object, with a view to enriching the operational form and cultural connotation of cultural load words translation activities of Chinese modern contemporary novels. Zhen Yantong (2019) analyzes systematically the self-translated work ''Taipei People'' with the purpose of exploring the characteristics of self-translation and summarizing translation strategies and methods employed by the self-translator. Through a comparative study, Chen Ziyu (2021) found that the self-translation version of ''Taipei People'' is a unity of "translation" and "rewriting". And from the perspective of translation ethics, he explores the special ethical choices the self-translator made and the translation strategies the self-translator adopted in the hope of inspiring the conventional translators and bringing inspirations to literary translation and the overseas promotion of Chinese literature.

It is obvious that there are only a small quantity of studies on self-translation of ''Taipei People'' and the research perspectives are miscellaneous. Most of them focus on the self-translator and almost no research examines the whole self-translation process systematically to probe into the translation strategies.

===Methods and Theories===
'''Research Methods'''

This paper is aimed at making an analysis of the domestication strategy adopted by Pai Hsien-yung to achieve his translation purpose. And based on this, this paper mainly adopts the following two research methods: 1. case study. This paper focuses on Pai Hsien-yung and his self-translated work ''Taipei People''. 2. comparative study. This paper makes an in-depth analysis of ''Taipei People'' through selecting examples from both the original text and the target text.

'''Definition of Domestication'''

Domestication is a translation strategy proposed by Lawrence Venuti (1995: 20), a famous American translation theorist, in The Translator's Invisibility—A History of Translation in 1995, as opposed to foreignization. According to Venuti, domestication is "bringing the author into the culture of the translated language". Generally speaking, domestication translation means to localize the source language, take the target language or the target readers of the translation as the destination, and adopt the expressions that the target readers are accustomed to in order to convey the content of the original. Domestication translation helps readers better understand the translated text, and also enhances the readability and appreciation of the translated text.

===Domestication in the Translation of ''Taipei People''===
In terms of the choice of translation strategies, Pai Hsien-yung, as a self-translator, adopts domestication strategy that prioritizes the culture of the target language and does not disturb the readers to the greatest extent, preferring to use language expressions that fit the readers' reading habits. This paper will select the translation of several types of more typical expressions in the translation of ''Taipei People'' to explore the domestication strategy adopted by Pai Hsien-yung in his self-translated work.

===Translation of Colors===
As Pai Hsien-yung (1982: 242) once said, "Chinese women are inexhaustible treasure," and he portrays many classic female figures in ''Taipei People'', the more prominent of which are the wives of several generals and prostitutes. Due to the differences in character traits, status and endings, when describing several female figures, Pai Hsien-yung used rich colors to describe their costumes and accessories in order to make their images more three-dimensional. When translating, Pai tried his best to reproduce the symbolic meaning of these colors in order to make the target readers feel the role of colors in the original text to set off the characters' images.

Example1：“宝蓝配绛红，夫人觉得怎么样？”林小姐抽出一瓶紫红的指甲油来（Pai Hsien-yung 2013: 401）。

“Burgundy to go with the royal blue, what does Madame think?”Miss Lin drew out a burgundy shade（Pai Hsien-yung 2013: 400）.

The lady in this case refers to Madame Hua, an upper-class warlord's wife, who always had some competition with other ladies about appearance, family, and taste. At the same time, Madame Hua is also a person who is particular about beauty, and she always spends much time thinking of and take care of the color of her nails to match the jade and the looseness of her hair styling. The original text uses vivid red and bright blue not only to refer to these two colors, but also to highlight Lady Hua's elegant taste. Burgundy means deep red, which also refers to the famous Burgundy wine in France, and the word itself is pronounced in a long and rhythmic way, so that readers can feel the noble temperament of Mrs. Hua when reading this word. Royal blue corresponds to bright blue, which further emphasizes Mrs. Hua's noble status (Song Shizhen and Wang Hongtao 2017:16).

Example2：尹雪艳也不爱穿红戴绿，天时炎热，一个夏天，她都浑身银白，净扮得不得了（Pai Hsien-yung 2013：41）。

Nor did she care to wear vivid colors. All through the summer, when the weather was burning hot, she dressed entirely in silvery white, looking cool and fresh beyond words（Pai Hsien-yung 2013: 40）.

Yin Xueyan is the main character in the chapter Forever Yin Xueyan, where the word "forever" refers not only to her eternal youth but also to her emotionless mood. As the most popular girl in the Paramount Ballroom, she is a good-looking girl with an indifferent temperament. She is considerate for all the guests, but this is only a means of socializing for her. White, representing Yin Xueyan's indifference, also symbolizes a tribute to her dead lover and her daily life filled with unwillingness. In Chinese, red and green are both bright and vivid colors. The phrase "wearing red and green" here does not refer to wearing red clothes and green jewelry, but rather to "be gorgeously dressed". If "wearing red and green" here is directly translated as wearing red and green clothes, the meaning intended by the original text cannot be correctly conveyed to the target readers. Therefore, Pai Hsien-yung uses "vivid colors" instead, indicating Yin Xueyan's usual plain dress, which is in line with her image.

Thus, when translating words related to color, we should replace the color words in the original text with other color words that have different literal meanings but equivalent functions, so as to avoid misunderstandings caused by cultural differences and retain the clever use of color in the original text.

===Translation of Names===
The names of the characters in the novel are not arbitrarily chosen by the author; they often suggest the character's features, identity and fate, etc., and have certain inspiring effects on the readers (Li Miaoqing 2009: 148). Most of the names of the characters in ''Taipei People'' are related to their images and identities, such as Yin Xueyan and Yue Yuehong. According to Bai Xiangyong, "Translation, especially Chinese to English translation, of names is a problem. Once the name is pinyinized, the meaning is all but lost, not to mention the beauty of the text (Xu Jun 2004: 58-60)." Therefore, in translating names, Pai Hsien-yung mostly abandons the commonly used pinyin form and adopts more translations that correspond to the meaning of the character's name.

In terms of the name Yin Xueyan mentioned earlier, the word "snow" refers to her snow-white skin and snowy appearance (Pai Hsien-yung 2013: 41), and the word "yan" refers to her style in the way she moves her body (Pai Hsien-yung 2013: 43). The transliteration "Yin Hsueh-yen" does not convey the meaning of the name and the author's intention, so Pai translates Yin Hsueh-yen as "Snow Beauty" (2013: 50). "Snow" means snowy and white, which precisely highlights the character of Yin Xueyan. "Beauty" means beautiful, which fits the characterization of Yin Xueyan. At the same time, "Snow Beauty" cleverly borrows the expression of the famous Disney character "Snow White", which can not only arouse the interest of foreign readers, but also present this character image more vividly and concretely to the readers, and at the same time implies the difficult fate of Yin Xueyan.

Another character, Yue Yuehong, is the sister of Madam Qian in the chapter ''A Dream in the Garden'' (Madam Qian is the widow of a Kuomintang general). Yue Yuehong, as her name suggests, has a passionate personality and outstanding looks, but her personality is rather mischievous and therefore not very pleasant. The word Yue Yue Hong itself refers to a kind of Chinese rose, so it cannot be translated in pinyin. In the end, the translators decided to translate the word as "Red-red Rose". The English poet Robert Burns has a famous line often quoted, "My love is like a red red, rose", so the English translation of Yueyuehong has its origin, and there is an overlapping word in English. "Red-red Rose" is a playful word that fits well with the pink flowers that bloom as they fall (Pai Hsien-yung 2013: 179). "Red-red Rose" not only allows readers to associate Yue Yuehong's appearance with the beautiful rose, but also reflects her character, which is like a rose with thorns.

When translating the names of characters with special meanings, Pai Hsien-yung does not simply adopt the pinyin form, nor does he simply pursue great changes in form, but try to align with the culture of the target language and borrow cultural images familiar to readers. In this way, not only do they create the same vivid characters in the translations as in the original works, but they also accurately and completely convey the implied meanings of the names in the original works, and some of them even manage to reach new heights in terms of form and pronunciation rhythm (Xie Lu 2011:158). However, Pai Hsien-yung (2013: 178) also says, "some translators also translate Chinese names by their meanings, and that is not suitable for every Chinese name." Therefore, for many names in the translation, Pai Hsien-yung still retains their phonetic transliteration and uses a combination of free translation to deal with the translation.

===Translation of Traditional Expressions===
Although ''Taipei People'' depicts the lives of a group of "Taipei people" with different identities, in fact these "Taipei people" are mainlanders who went to Taipei for different reasons and come from different provinces or cities in mainland China (Shanghai, Nanjing, Sichuan, Hunan, Guilin, Beiping, etc.). Therefore, in ''Taipei People'', we can read many expressions related to traditional Chinese culture or historical allusions. In translating these particular Chinese expressions, Pai Hsien-yung likewise chooses the translation strategy of domestication in order to make the best connection between the translation and the original (Li Miaoqing 2009: 149).

Example3：“哦，原来是打翻了醋罐子。”金大班笑道（Pai Hsien-yung 2013：203）。

“Aha. So the grapes have turned sour.”Taipan Chin laughed（Pai Hsien-yung 2013：202）.

The origin of "vinegar" here can be traced back to the Tang Dynasty. It said that Fang Xuanling, a chancellor who was highly valued by Emperor Tang Taizong, was very afraid of his wife. One day, Emperor Tang Taizong joked and asked Fang Xuanling's wife to choose between drinking a jar of "poisonous wine" and giving Fang Xuanling a concubine. The wife did not want her husband to have a concubine, so she chose to drink the "poisonous wine", and the jar was actually filled with aged vinegar. After this, the expression "eating vinegar" came into being. In Chinese, it means "jealousy", that is, jealousy of a man and a woman's relationship. However, there is no such meaning in western countries, not to say connecting the original text with "jealousy and envy". Therefore, Pai Hsien-yung chooses to use the customary expression "the grapes turn sour" in English instead to reduce the difficulty for readers to understand when reading, in order to meet the language habits of the target readers.

Example4：“她没有哭泣，可是两片发青的嘴唇却一直开合着，喉头不断发出一阵阵尖细的声音，好像一只瞎耗子被人踩得发出吱吱的惨叫来一般（Pai Hsien-yung 2013：111）。”

"She didn’t cry, but her pale lips were opening and closing, a shrill, small noise kept coming from her throat, as if somebody stepped on a blind mole and it was letting out a dying shriek（Pai Hsien-yung 2013：110）."

The word “瞎耗子” here is not directly translated as "blind rat" or "blind mouse" by Pai Hsien-yung, but as "blind mole". In English, people used to use "blind as a mole" to describe poor eyesight. Because moles are used to hunt at night, the eyes of adult moles are deeply sunken under the skin, and their eyesight is completely degraded, while mice do not have this feature. Therefore, in order to make target readers better understand the content of the original text, Pai Hsien-yung also pays attention to the cultural expression habits of the target language in detail.

Due to the cultural differences between the source language and the target language, when translating words or expressions with distinct cultural characteristics, translators must pay great attention to the impact of these differences. Self-translators, on the other hand, prefer to use the strategy of domestication in order to introduce Chinese culture in the original work to the target readers and to convey the special meaning of particular expressions in the original work, so as to reduce the impact on readers' reading experience due to cultural differences.

===Conclusion===
Lefevere (1992/2006) suggests that "literary techniques, genres, themes, archetypal characters and scenes, symbols, etc." should be reflected in the translation (Lefevere, 1992:34), and gives solutions to a series of specific problems encountered in translation. He believes that the translator should not only be able to translate the semantic information content of the original text, but also convey its "extra-verbal speech act".

After the analysis above, the author finds that fidelity is not only an exact fit to the meaning or form of the original work, but also the interpretation and communication of the spirit of the original work, and the continuation of the life of the original work. Pai Hsien-yung and his co-translators have the most profound understanding of the original text in their translation of ''Taipei People'', and thus make the most fitting interpretation in the translation. For the self-translators, their translation of their own work is not just a simple and rigid translation, but also an interpretation and continuation of the original work in a new cultural context.

Pai Hsien-yung (2013: 29) writes in ''Taipei People'' that he is "determined to move the original Chinese text of this book to the English version as far as possible," a determination that he has as both the original author and the self-translator. Such a dual identity allows Pai Hsien-yung to have both the author's deep understanding of the content and ideas of the original text and the privilege of a special choice of translation strategy and more freedom over the translation as a self-translator. When translating his own works, the self-translator pays more attention to conveying the content of the original work and the culture of the source language than other translators, so the self-translators are not only faithful to the original work, but also hope that the target readers can better understand the original work.

===References===

==英语笔译刘珍 Liu Zhen 202170081588 MW==

<center>'''A Study of Strange Stories From a Chinese Studio from the Perspective of Skopos Theory'''</center>

<center>刘珍</center>

===Abstract===
Liao Zhai Zhi Yi written by Pu Songling is a famous collection of more than 400 peculiar short stories. As a work coming into being at the very beginning of the 17th century when the classical Chinese writing was on the wane, the appearance of Liao Zhai Zhi Yi (or Liao Zhai in abbreviation) injected vigor and vitality into the classical Chinese literature. Among the many foreign translations of this book, the English version named Strange Stories from a Chinese Studio translated by Herbert Allen Giles is the most popular and influential one so far, thus becoming an indispensable part for the study of the English translation of Liao Zhai. At a time that we are calling for Chinese culture going global, as a successful case of Chinese literature work well-accepted by the foreign market, the English translation if sure of high research values and guiding significance. This thesis attempts to take Skopos theory as the theoretical basis, and take Giles’s Strange Stories from a Chinese Studio as the main research object to study the translator’s aims, the choices of translation strategies and the achievement of translation function.

===Key words===
Strange Stories from a Chinese Studio; Herbert Allen Giles; Skopos theory; Reader Expectations

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
The Translation and spread of Su Tong 's works Abroad

<center>'''The Translation and spread of Su Tong 's works Abroad'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
Su Tong is one of the famous contemporary Chinese writers, whose works have been translated into a variety of languages and widely spread abroad. therefore, the writer Su Tong has also become one of the top three foreign translators of novels in China. Based on the present situation of the foreign translation of Su Tong's works, this paper will explore the reasons for the success or failure of its overseas dissemination, and put forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong; Translation； Spread

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译聂薇 Nie Wei 202170081592 MW==

<center>'''Translation of Idioms in Howard Goldblatt's ''Life and Death are Wearing Me Out'''''</center>

<center>Nie Wei 聂薇</center>

===Abstract===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is full of vivid and interesting idioms, which make the language of this novel so unique and characteristic. Howard Goldblatt's translation of this novel has been a great success in the English-speaking world. In the translation of idioms in this novel, he mainly adopts the methods of foreignization and omission, and follows the translation principles of preserving the foreign culture and insisting on semantic correspondence in order to present the heterogeneity of the idioms, so that the Chinese culture contained in the idioms in ''Life and Death are Wearing Me Out'' is well presented to Western readers. His translation provides a more objective platform for Western readers to know the diverse cultures of the world. The study of Goldblatt's translation of this novel can help guide the English translation of Chinese literature, thus providing references for promoting Chinese culture abroad.
===Key words===
''Life and Death are Wearing Me Out''; Howard Goldblatt; translation of idioms; creative treason
===Introduction===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is not considered the best novel in China, but Goldblatt's English translation has received much attention in the English-speaking world, won many international awards, and is even considered one of the most important works for Mo Yan to win the Nobel Prize in Literature. One of the most distinctive features of this novel is its unique language style. Goldblatt’s exquisite translation enables Mo Yan's style to be reproduced, and the strong local flavor and magical realism to be manifested, all of which is an important factor for the success of the English translation of ''Life and Death are Wearing Me Out''. This paper discusses the translation methods and principles adopted by Goldblatt in his translation of the idioms in this book, and analyzes its influence on the dissemination of Chinese culture, so as to provide reference for future translations of Chinese classics. (Shi Chunrang 2019, 94)
===Literature Review===
I searched CNKI with keywords "''Life and Death are Wearing Me Out'' and translation" (searched until May 29, 2022) and found 355 related papers. These papers analyzed the translation methods, strategies and Goldblatt’s translation style of ''Life and Death are Wearing Me Out'' from different perspectives, such as relevance theory, Bourdieu’s theory of field, Reception Aesthetics Theory, eco-translatology, translation aesthetics, the post-colonialism perspective, rewriting theory, translation ethics, hermeneutics and translators' subjectivity.

Among them, there are five papers related to the study of proverbs ( idioms). Wang Yiting and Lin Mei point out that Goldblatt mostly uses literal translation to translate idioms in the linguistic dimension, chooses both literal and free translation in the cultural dimension, and uses rewriting in the communicative dimension. Liu Geng and Lu Weizhong, with the help of conceptual metaphor theory, point out that the English translation of the idioms in ''Life and Death are Wearing Me Out'' has certain translator's subjectivity, and the translator's metaphorical way of thinking affects the use of different translation strategies. Ye Pingting, based on the cultural translation view, uses the idioms in Goldblatt’s version as a corpus to explore how translators effectively convey cultural information. Chen Qiansa analyzes the use of idioms and their translation methods in this novel based on the Chinese-English parallel corpus. Shi Chunrang and Shi Yan analyze the role of idioms in ''Life and Death are Wearing Me Out'' in constructing the "image of the other" for Western readers, as well as in deconstructing the cultural psychology of western readers.

The study of idioms’ translations in Goldblatt's version includes both case studies, in which a single idiom is selected for discussion, and quantitative analyses supported by definite statistics. This paper provides an overall study of the methods and principles of translating idioms, and suggestions for improvements to the mistranslations in Life and Death are Wearing Me Out, so as to provide a reference for the English translation of Chinese literary works in the future.
===Methods and Theories===
This paper focuses on the study of Goldblatt’s translation based on Venuti's theory of domestication and foreignization and the concept of creative treason.

Lawrence Venuti firstly formulated and introduced the theory of domestication and foreignization in the book ''The Translator’s Invisibility''. According to Venuti, domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target readers, while foreignization refers to the type of translation in which a target text deliberately breaks target conventions by retaining something of the foreignness of the original.

The domestication method can express the language and culture of the source language with the language and culture familiar to the target language readers, and the translation is fluent and easy to read and accepted by the readers, but the "domestication method" tends to distort the facts of the original text, which is not conducive for the target readers to feel the "exoticism" of the foreign culture. On the other hand, the "foreignization method" can better maintain the style of the original text, convey the author's original intention, and let the target language readers truly feel the difference between the two cultures, but the disadvantage of it is that the translation may be obscure and difficult to understand, and may sometimes make the readers have cultural misunderstanding. (Zhu Zhouxain 2013,155)

Professor Xie Tianzhen published a book entitled ''Translation Studies'', in which he elaborated on the creative treason in literary translation in depth. In his book, he clearly pointed out that "the most fundamental characteristic of creative treason in literary translation is that it introduces the original work into a receptive environment that the original author did not originally anticipate, and changes the form originally given to the work by the original author."

Due to the specific differences in social, historical and cultural factors between the source language and the target language, the translator will certainly make appropriate and comprehensive "adjustments" to the specific differences in semantics between the two languages in different contexts during the whole process of translation. These "adjustments" are, on the surface, a "treason" against the original work, but it is not the translator's trampling on the original work at will, but the translator's attempt to make the translation convey the same meaning as the original work in the translated language environment. (Zhang Liyun 2019,141)

===1.Idioms in ''Life and Death are Wearing Me Out'' and their characteristics===
Idioms are simple and concise folk languages that are widespread and easy to understand. Most of them are short sentences that are transmitted orally by the laboring people, reflecting their experiences in production and life vividly. Idioms contain a great deal of background information and culture, and it is a form of language that has been developed over a long period of historical development and real life.

''Life and Death are Wearing Me Out'' is filled with lively and amusing idioms that bring uniqueness and vitality to the novel's language. This novel tells the story of joys and sorrows experienced by the landlord Ximen Nao’s family and the farmer Lan Jiefang’s family for more than half a century. The theme of the novel is closely related to the farmers and the land, which of course requires the use of a large number of idioms to narrate the story. (Shi Chunrang 2019,94)

Clearly, the idioms in this novel are diverse in form and peculiar in presentation. For example, when the donkey reincarnated from Ximen Nao bragged about being favored by the county chief, it said, "人们都知道，侍候好了县长的驴，就会让县长格外高兴。拍了我的驴屁，就等于拍了县长的马屁。" The translation is "Everyone knew that taking special care of the county chief's donkey made him very happy. Patting my rump was equivalent to patting the county chief's behind with flattery." Here cleverly, the common saying "拍马屁" in people's daily life is used as “拍驴屁”, which highlights the identity of the donkey, and also vividly and humorously depicts the complacency and arrogance of the donkey, while expressing its contempt for those who strive to curry favour with people in authority.

In addition, when the ghosts in the hell sneered at Xinmen Nao, they said, “猫改不了捕鼠，狗改不了吃屎”. The translation is “You can’t keep a cat from chasing mice or a dog from eating shit.” The language, though vulgar, is very common in people’s daily life and fits the overall style of the novel.

This kind of linguistic style is both traditional and innovative, both unbridled and unrestrained, and is highly effective for shaping the characters and plotting.
===2.Goldblatt’s translation methods of idioms in ''Life and Death are Wearing Me Out''===
(i) Foreignization

The method of foreignization is to deliberately make the translation violate the conventional linguistic models in target language and retain the exotic atmosphere of the original text, with the aim of "injecting the linguistic and cultural differences in the foreign text into the target language, sending the readers abroad" and providing them with an "unprecedented reading experience”. Goldblatt deliberately uses the method of foreignization to translate idioms in this novel.

Specifically, Goldblatt tries to convey the heterogeneity of idioms in the original text in the following ways.

First, he tries his best to show the target readers the meaning of Chinese idioms that is unique to China and not available in the Western culture. After all, idioms are developed in the production and life experiences of different peoples. Therefore, Goldblatt chooses literal translation whenever possible.

For example, “你是煮熟的螃蟹难横行了，你是瓮中之鳖难逃脱了” is translated into “You’re a cooked crab that can no longer sidle your way around，a turtle in a jar with no way out”. “瓮” is a unique Chinese utensil with rich Chinese cultural information. The image of "瓮" is missing in the English-speaking world. Therefore, he borrows the familiar apparatus "jar" from English to translate it, which is roughly similar to "瓮" in appearance. This translation uses an alternative image to convey the message of the original text, which reduces the connotative information of the original idiom but makes it easier for the target readers to understand the essential message of the idioms.

Second, for some idioms, Goldblatt translates them by literal translation with annotation. The literal translation is of course for presenting the original message of the idioms to the target readers, while the annotation is to help the readers better understand the essential message of the idioms, because some of them have complex metaphorical messages, so annotation is essential for understanding.

For example, “兔死狐悲，物伤其类” is translated into “When the rabbit dies，the fox grieves, for his turn will come.” This annotation “ for his turn will come” clearly illustrates the message of the original idiom and removes any confusion about why the fox grieves for the rabbit’s death. With annotation, the connotative meaning of the idiom becomes clearer.

Third, for some idioms that have exact equivalents in the target language, the translator deliberately translates them with explanatory literal translations instead of copying the idioms in the target culture. For example, “入乡随俗” is translated into “When you come to a new place，learn the local customs and follow them” rather than “When in Rome, do as the Romans do” in English. Obviously, the use of semantic equivalents of idioms in the target language cannot translate the information conveyed by the original context. An explanatory literal translation approach can help target readers better understand the plots of the novel and increase their interest in reading it. (Shi Chunrang 2019,95)

(ii) Domestication

Sometimes we may find that the Chinese idioms don’t have equivalents in the target language, so they can be translated through free translation, which means we can follow the principle of domestication by borrowing existing expressions in the target language, thus making the translation closer to the reading habits and cognition of the target readers. In Goldblatt's translation of idioms in ''Life and Death are Wearing Me Out'', about 30% of those idioms are translated through free translation. (Chen Qiansa, 2019,108)

For example, “洪泰岳你出口无信，食言而肥” is translated into “Hong Taiyue，your words meant nothing, you did not make good on your promise”. In this sentence, “食言而肥” and “出口无信” mean the same thing: not to keep one’s word. These two idioms came out of ''The Commentary of Zuo''. It is not possible for the translator to translate the allusions behind each idiom, which would result in a lengthy and unclear translation. So Goldblatt uses a phrase with similar meaning to express the idioms “食言而肥” and “出口无信”. He borrowed from the English idiom “not make good on your promise” and delivered an authentic translation cleverly.

Due to the differences between the English and Chinese languages and between Eastern and Western cultures, the “treason” of the original text in literary translation is inevitable. For example, in the novel ''Life and Death are Wearing Me Out'', there are many epithets such as "爷们" and "伙计", which are difficult to translate into English with full equivalence, and Goldblatt's creative "rewriting" of them also reflects his unique translation ideas. For example, according to different contexts, “伙计” is translated into “gentleman” “buddy” “old friend”; according to the specific meaning of the sentence, “掌柜的” is translated into “you are the head of the household” “my husband” “the old gentleman” “sir” and so on. (Zhang Qi 2019,329)

Although the domestication method changed the images or structure of the original sentence, Goldblatt's translation better conveys the original author's intentions and can be deemed as a kind of fidelity from a deeper level.

(iii) Omission

Omission means that the idiom is not translated from the original text. There are two kinds of idioms that Goldblatt did not translate. The first one is those idioms that contain distinctive local culture, which cannot adequately convey the content of the novel in the target language. For example, “我这哥，惯常闷着头不吭声，但没想到讲起大话来竟是‘博山的瓷盆——一套一套的’ ” is translated into “He was normally not much of a talker, so everyone was taken by surprise. To be honest, it turned me off.” The idiom “博山的瓷盆——一套一套的”(which means a set of porcelain pots from Boshan) has been omitted here because it contains an item known only to a small group of people, and the message it implies is so unique and unnecessary that the translator chose to omit it. (Shi Chunrang 2019,95)

In addition, Goldblatt chose to deliberately omit some idioms, such as “西游记”“小妖红孩儿”“封神演义”“哪吒”“天山童姥”. Because in his mind, "capturing the style, rhythm and imagery of the original work is the real task and challenge for the translator”. Omitting those idioms makes the storyline more compact and the language more straightforward and easily accepted by the target readers. (Zhang Qi 2019,329)

Second, some idioms that serve to add explanatory information and vividness to the original text are also often deleted by Goldblatt. For example, "出水才看两条腿" and "咱们骑驴看账本，走着瞧! " and other similar proverbs are omitted.

On the whole, however, the idioms in ''Life and Death are Wearing Me Out'' are very important for the novel’s general language style. Therefore, there are not many cases where the translators leave idioms untranslated.

(ⅳ) Mistranslation

In Xie Tianzhen’s article ''Mistranslation: Misunderstanding and Misinterpretation in Different Cultures'', he divides mistranslation into two types, namely intentional mistranslation and unintentional mistranslation. Intentional mistranslations are those in which the translator chooses to consciously misinterpret the meaning of the original text for some reason. Unintentional mistranslations can be divided into three types which are caused respectively by carelessness, poor linguistic skills and lack of knowledge of the cultural background of the original language. (Zhang Sen 2016,111)

Intentional mistranslation closely reflects the translator's creative treason and is also a major manifestation of the collision, distortion and deformation between cultures in literary and cultural exchanges. Therefore, this paper focuses on the current situation of intentional mistranslation in Goldblatt’s translation of ''Life and Death are Wearing Me Out'', and reveals how translators creatively fill the gaps between different cultures. (Zhang Liyun 2019,143)

For example, “……让老婆孩子吃糠咽菜的守财奴” is translated into “…made his wife and kids eat chaff and rotten vegetables”. The original text intended to use the idiom "吃糠咽菜" to depict the poor life of them, but in the translation it is translated into "eat chaff and rotten vegetables". In the original text, the word "菜" means "wild edible plants", because in the old days, Chinese people who could not afford to eat vegetables often used wild plants to fill the belly. But in the English version it is translated as "rotten vegetable". Why? Because with the improvement of people's livelihood, "wild edible plants" have become a delicious delicacy for people in both the East and the West. Therefore, in order to tell the target readers about the poor life of those people, he translated "糠咽菜" into "chaff and rotten vegetables", which makes it easier for the readers to accurately capture the meaning of the original text.

The translator plays an important role in this process, and the translator's personalized translations, mistranslations and omissions reflected in the translations are all manifestations of the translator's creative treason.
===3.Goldblatt’s principles for translating idioms===
(i) Preserving the culture of the original language

Generally speaking, idioms have deep semantic connotation and vividly reflect the material and spiritual culture with local characteristics. Therefore, when translating idioms, we should try to understand the deeper connotations of them and to express them clearly. By researching, communicating with the author and other methods, Goldblatt managed to understand the essential meaning of the idioms, their historical roots and the context in which they are used, so as to truly grasp their precise meaning. (Shi Chunrang 2019,97)

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopts the methods of foreignization and omission, so we can say that the principle he follows in translation is that of preserving the culture of the original language. He tries to highlight the heterogeneity of the original proverbs through literal translation, to reveal the uniqueness of Chinese culture, and to help Western readers understand the life experience of the Chinese people attached to the idioms through annotations.

Due to the cultural status of Europe and America, cultural differences and the marginal position of translated literature in the European and American literary world, European and American translators often choose to translate other countries' literary works by means of domestication, and the translation of ''The Story of the Stone'' by David Hawkes is an example of the use of domestication strategy. However, cultural hegemony and cultural colonization have led a group of translators with a sense of mission to choose a translation strategy that preserves the style of the original work, which is called foreignization.

The contradiction is obvious: the translator wants to preserve the taste of the original work, but the reader's difficulty in understanding the language and structure of the vernacular novel requires the translator to make concessions in the translation. Goldblatt's approach to translation reconciles this contradiction to a certain extent. He tries to strike a balance in the translated work so that it can be accepted by Western readers. (Tian Debei 2016,91)

(ii) Semantic correspondence

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt not only tries to reproduce the meaning of the idioms in the target language, but also strives to achieve an overall semantic correspondence between the proverbs and the context in which they are found. He helps to make the text more logical and readable by adding explanatory phrases, explicitly stating the implied meaning or adding connecting words. In achieving semantic correspondence, he tries to make the translation as close to the original text as possible, without adding or subtracting anything, and without creating ambiguity. In terms of choosing words, he tries to be as concise and appropriate as possible; in terms of sentence construction, he tries to achieve a sentence style that reflects some of the features of the original but is also in keeping with the conventions of the target language. (Shi Chunrang 2019,97)
===4.Implications of ''Life and Death are Wearing Me Out'' for the English Translation of Chinese Literature===
As mentioned above, guided by the principle of personalized translation, there is 'fidelity' in translating the idioms in ''Life and Death are Wearing Me Out'', as well as creative treason and omission of the original text. It can be seen that Goldblatt is not bound by the traditional dichotomy of literal translation and free translation. The language of his translation is authentic and fluent, reading like an original English novel but conveying exotic cultural imagery.

Goldblatt insists on translating for his readers, so he was selective in his translation strategies in order to make exotic Chinese literature accessible to western readers, thus allowing excellent literature to enter the field of foreign translated literature and achieving the effective dissemination of Chinese literature.

Compared with Western culture, Chinese culture is still in a disadvantaged position in the world cultural landscape. Therefore, if Chinese literature wants to “go global”, translators must take into account the special cultural background and general readers' acceptability.

Goldblatt’s choice and application of translation strategies carries with it the translator's subjectivity, and under the guidance of such translation principles, his translations meet both the literary standards of the Western world and the expectations of the Western readers for Chinese literature. (Zhang Qi 2019,330)

Whether Chinese literature has done a good job in “going global” is not only judged by the accuracy of their translations, but also by how well they are received by foreign readers. The difference between Chinese and Western cultures have resulted in readers’ different preferences for literary themes, so Goldblatt has paid great attention to the tastes of Western readers when selecting books he was going to work on, so that his translations can be better accepted by them. However, the mistranslation in his version has led to a deviation from the original Chinese works.

Compared with Chinese translators, Sinologists have a strong linguistic background, but their knowledge reserve of Chinese culture is still insufficient. So the best mode of translation is a kind of Chinese-foreign collaboration, in which the Chinese translators deal with the cultural challenges while the sinologists do the linguistic touch-ups, in order to ensure the integrity of Chinese culture in the West, and to achieve both fidelity to the original work and increased acceptance abroad, thus achieving success in the translation of Chinese culture. (Zhang Sen 2016,115)
===Conclusion===
In translating idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopted the strategies of literal translation (39.2%) and free translation(30.3%), supplemented by omissions, additions and borrowings, with a few mistranslations (about 10 cases). It is evident that he tends to retain the cultural image of the idioms in the source language, and tries not to add or delete; however, when those images in the source language don’t have equivalents in the target language, he will be bold enough to adopt free translation, so as to maintain the readability and fluency of the translated work. In the translation process, he stays true to the connotation of the text rather than the literal meaning, and stays true to the target readers rather than the readers of the source language. (Chen Qiansa 2019,110)

This helps us to reveal Goldblatt's faithful translation and reader-consciousness. In conclusion, in the process of translation, translators should preserve the style and image of the idioms in the original text as much as possible, so as to spread Chinese culture and enrich the English vocabulary; at the same time, they should take into account the readability of the translated work and adopt various translation approaches to deal with the Chinese idioms.

Goldblatt not only makes the message conveyed by the idioms and the proverb-rich language style of ''Life and Death are Wearing Me Out'' well presented to Western readers, but also makes them easily understood and accepted by Western readers. The translator does his best to spread Chinese culture and respect the culture clash between different cultures. His translation dares to face up to the cultural differences between China and English-speaking countries, and uses a unique translation method to strongly promote Chinese literature and culture to the Western world, which achieved good results, and also provides some useful references for us to do a good job in promoting Chinese culture to go abroad.

Therefore, we should not only consider the needs of Western readers at the expense of the dissemination of our own distinctive culture, instead, we should take the promotion of our own culture as our responsibility and take into account the reading needs of Western readers. The successful translation of idioms in Mo Yan’s novels is a good case in point. In the exchange between Chinese and foreign cultures, the translation of idioms in Mo Yan's novel adheres to the idea of faithful translation and mainly adopted foreignization, fully demonstrating the traditional Chinese culture with strong national flavor and distinctive regional characteristics, which is an important inspiration for the dissemination of Chinese culture today.
===References===
*Mo Yan 莫言. (2011). Life and Death are Wearing Me Out. tans. by Howard Goldblatt. New York: Arcade Publishing．
*Venuti, L. (1995). The translator’s Invisibility: A History of Translation. London and New York: Routledge．
*Xie Tianzhen 谢天振.(2012).创造性叛逆:争论、实质与意义[Creative Treason: Controversy, Substance and Meaning].''中国比较文学''Comparative Chinese Literature (2):33-40．
*Zhang Qi张琦.(2019).“创造性叛逆”:莫言《生死疲劳》英译特点及启示[Creative Treason: Characteristics and Insights of the English Translation of Mo Yan's “Life and Death are Wearing Me Out”].''上海理工大学学报''Journal of Shanghai University of Technology (04):327-330+337.
*Zhang Liyun, Wu Qingjuan张丽云,吴庆娟.(2019).创造性叛逆与葛浩文《生死疲劳》英译本的译介[Creative Treason and Goldblatt’s Translation of “Life and Death are Wearing Me Out”].''齐齐哈尔大学学报''Journal of Qiqihar University (10):141-143+172.
*Wang Yiting, Lin Mei王怡婷,林梅.(2014).翻译适应选择论视角下《生死疲劳》的习语翻译[The Translation of Idioms in "Life and Death are Wearing Me Out" from the Perspective of Translation Adaptation Selection Theory].''常州大学学报''Journal of Changzhou University (04):100-102+106.
*Shi Chunrang, Shi Yan石春让,石岩.(2019).葛浩文译《生死疲劳》中谚语的文化建构与解构[The Cultural Construction and Deconstruction of Idioms in Goldblatt's Translation of “Life and Death are Wearing Me Out”].''外国语文''Foreign Literature (01):94-99.
*Zhang Sen, Zhang Shijin张森,张世瑾.(2016).葛译《生死疲劳》中的误译现象与中国文化译介策略[Mistranslation in Goldblatt's Translation of Life and Death are Wearing Me Out and Strategies for Translating Chinese Culture].''河北大学学报''Journal of Hebei University (05):111-116.
*Liu Geng, Lu Weizhong刘庚,卢卫中.(2016).汉语熟语的转喻迁移及其英译策略——以《生死疲劳》的葛浩文英译为例[The Metonymic Migration of Chinese Idioms and Their English Translation Strategies - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''外语教学''Foreign Language Teaching (05):91-95.
*Chen Qiansa陈千飒.(2019).基于语料库的《生死疲劳》熟语英译研究[A Corpus-based Study on the English Translation of the Idioms in "Life and Death are Wearing Me Out”].''重庆交通大学学报''Journal of Chongqing Jiaotong University (01):105-111.
*Zhu Zhouxian朱周贤.(2013).论乡土小说翻译的难点——以葛浩文英译的《生死疲劳》为例[On the Difficulties of Translating Rural Literature - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''作家''The Writers (14):155-156.
*Tian Debei, Zhan Xuanwen田德蓓,詹宣文.(2016).入乡未能随俗:论葛浩文译《生死疲劳》的乡土气息[On the Local Flavor of Goldblatt's Translation of “Life and Death are Wearing Me Out”].''东北农业大学学报''Journal of Northeast Agricultural University (01):88-92.

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

<center>'''An Analysis of English Translation of Luotuo Xiangzi from the Perspecctive of Rewriting Theory'''</center>

<center>Sun Lijun</center>

===Abstract===
Traditionally, translation is regarded as a kind of linguistic conversion, which means translating the source text from one language into another. And with further and deep study of translation, Bassnett and Lefevere went beyond the level of language, focusing on the mutual interaction between translation and culture, and the influences and restrictions of culture on translation. Therefore, the move from translation as text to translation as culture and politics is termed as the cultural turn. Rewriting Theory, proposed by Lefevere, is the representative fruit of the translation studies on culture, exerting profound influence on academia. Rewriting Theory shows that translation is regarded as rewriting, which is mainly constrained by the dominant poetics, ideology and patronage under certain backgrounds.
Luotuo Xiangzi, writtten by Lao She in the year of 1939, is one of the representative masterpieces of Chinese classics, gaining great popularity both at home and abroad since its first English version, translated by the American translator Evan King in 1945, came out. And this translated text obtained great success in America, which establishing Lao She’s reputation as a writer in the international literary circle. However, due to the inequivalence to the source text, Evan King’s translated work invited some critics from Chinese scholars even unsatisfied the original author Lao She himself. Thereafter, this short essay will briefly analyze the translation of Luotuo Xiangzi by Evan King from the perspective of Rewriting Theory, trying to find out the influences the dominant poetics, ideology and patronage exert on translation.

===Key words===
Luotuo Xiangzi; rewriting theory; translation

===Introduction===
As is known to all, translation is a kind of special and creative activity carried out in a certain context. And it is influenced by some certain activities of the society at one hand, while on the other hand, translation is also restricted by some factors of the works and the writers themselves. In a word, translation plays an essential and pivotal role in communicating and exchanging ideas in this global village. And with further cultural exchanges, some foreign masterworks have been introduced into China, broadening people’s horizon and enriching their daily life and spiritual life in China; also, some Chinese classics have been translated abroad and made foreign friends get a better understanding of Chinese culture. As one representative work of Chinese modern classics, Luotuo Xiangzi has been translated into several versions by some famous translators at home and abroad, including Evan King’s Rickshaw Boy, Jean M.James’ Rickshaw: The Novel Lo-t’o Hsiang Tzu, and Shu Xiaojing’s Camel Xiangzi. And due to the three English versions translated aboard, Luotuo Xiangzi turned out to be a huge hit as soon as it was published. However, as the first translated version in English, though wildly welcomed among American readers, it invited some terrible criticism made by the Chinese literary circles for Evan King broke the rule of equivalence and he did a lot of rewritings. Throughout the history of translation, we can tell that being true to the original text is of paramount importance no matter from the “faithfulness, expressiveness and elegance” proposed by the famous Chinese scholar Yan Fu or the “dynamic equivalence” or “functional equivalence” initiated by Eugene A. Nida. However, those translation theories concentrate on the source-text-oriented methods and techniques, paying much attention to how to translate the original text faithfully into the target text, which represents a kind of static status and mainly focuses on the linguistic level. However, as the march of translation studies, some scholars have studied translation approach from the perspective of culture, attempting to put translation into a larger context. Thus translation studies was labeled with cultural turn from then on. And the polysystem theory and rewriting theory were representatives in this regard. Taking the dominant poetics, ideology and patronage into consideration, Lefevere’s rewriting theory then exerted profound influence in the later translation studies, providing a brand new viewing angle for individuals who engage in the translation studies. Given the Evan King's translated version, it is of terrific significance to explore the underlying reasons why Evan King did a lot of rewritings to Lao She's Luotuo Xiangzi on the framework of Lefevere's rewriting theory.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译仝雨梦 Tong Yumeng 202170081594 MW==

<center>'''A Comparison of The Analects Translated by James Legge and Ku Hungming'''</center>

<center>Tong Yumeng</center>

===Abstract===
Confucius is a great thinker and educator in ancient China, the founder of the Confucian school, and one of the world's most famous cultural figures. As the only book recording the sayings and discourse between Confucius and his disciples, The Analects is a classic of Confucianism as well as of Chinese civilization. Up to now, there have been nearly forty English translations of The Analects, which indicates the importance of this work in China and western countries. This paper mainly focuses on two English translations of The Analects published in 1861 and in 1898 respectively. One is translated by James Legge, a Scottish protestant missionary of London Missionary Society. The other is the translation of Ku Hung-Ming, an extreme cultural conservative and a strong advocate of Confucianism at the turn of the 19th and 20th centuries. By comparing the two English translations, the paper tries hard to trace back their translating processes, find out the criteria used in interpreting the original text, and summarize the strategies adopted to resolve cultural conflicts in translation. Besides adopting the traditional translation theories, this paper conducts its investigation from the perspective of functionalist "skopos theory" and theories of Lefevere. At last, the paper also mentions the influence of the two English versions of The Analects and the images of Confucius they have helped construct.

===Key words===
Confucius, Legge, The Analects, English Translation

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译童略雅 Tong Lueya 202170081595 CE==

<center>'''A Brief Analysis of Reading Strategies of Chinese Classics in a Digitalization Era'''</center>

<center>Tong lueya</center>

===Abstract===
With the rapid development of the society and the in - depth application of science and technology, people’s traditional production and living habits have been gradually changed. And their reading habits, reading time, reading preferences and reading content have also shown new characteristics. Especially with the mature application of science and technology such as Internet, intelligent handheld device, cloud computing, big data and so on in various fields, the reading mode of readers has gradually changed from systematic reading to fragmented reading. Classic works are the crystallization of human civilization. Reading classic works is of great significance to individual growth and social development. It cannot be overemphasized to promote classic reading. This paper analyzes the status of classic reading in a digitalization era, and then attempts to put forward some suggestions in classics reading. In this way, it hoped that people could realize the significance of reading classics and then form good habits to reading them.

===Key words===
Classics reading; strategies; digitalization

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译庹树梅 Tuo Shumei 202170081596 MW==

<center>'''The Cantonization of the Dream of Red Mansions'''</center>

<center>庹树梅</center>

===Abstract===
As a treasure of Chinese literature and an important source of cultural confidence for the Chinese nation, Dream of the Red Chamber has been disseminated in the English-speaking world for two hundred years. Under the multiple views of traditional historiography, neo-Hanology, neo-history and neo-Songology, Dream of the Red Chamber has been transformed from a "historical text" to a "classic text" and has undergone an evolutionary path from an academic research classic to a literary classic and then to a cultural classic. The first chapter of this paper discusses what classicization is. The second chapter discusses why Dream of the Red Chamber has become a classic work and analyzes its intrinsic literary value. The third chapter discusses the impact of the classicization of Dream of the Red Chamber on the influence of Chinese culture in the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译王思琪 Wang Siqi 202170081597 CE==
A Study on C-E Translation of The Book of Songs from the Perspective of Xu Yuanchong’s Theory of Three Beauties