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2022-12-28T15:54:29Z

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==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

==Abstract ==
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==
Künstlerisch, wissenschaftlich und textgetreu
===题目===
“艺术”论与“科学”论在翻译实践中的统一

===摘要===
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

=== 关键词 ===

艺术论科学论忠于原文

=== Introduction===
Die Entwicklung der Linguistik legte den Grundstein für die Scientology, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Die Entwicklung der Linguistik lieferte die Grundlage für die wissenschaftliche Theorie, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Trotzdem, Die Interpretation der Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich grundlegend von dem, was oft als literarische Schule bezeichnet wird Die Interpretation von Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich jedoch grundlegend von der Auffassung der so genannten literarischen Schule. Hier ist die Kunst nicht durch die Natur der Übersetzung vorgeschrieben, sondern als Ergänzung zur Wissenschaft. sondern vielmehr als Ergänzung oder Ersatz für die Wissenschaft. Wissenschaft Die Wissenschaft braucht einen festen Boden, und wenn sie Treibsand unter ihren Füßen findet Wenn man Treibsand unter den Füßen hat, muss man auf die Flügel der Phantasie zurückgreifen, auf denen die Kunst frei fliegen kann. Aber, Mit dem Eintreten der Kunst kam es jedoch zu einem neuen und komplexeren Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft. Der Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft.

=== Die Widersprüche der "Werktreue" in der tatsächlichen Übersetzung===
Das Ziel der "Originaltreue" ist eine natürliche Anforderung an Übersetzer und steht seit Jahrhunderten im Mittelpunkt der Übersetzungstheorie und -praxis. In letzter Zeit scheint es jedoch eine gewisse Skepsis und sogar Leugnung zu geben. Lefebvre sagt: "Die Treue zum Original ist nur eine von vielen Übersetzungsstrategien, das Produkt einer Kombination aus einer bestimmten Ideologie und einer bestimmten Auffassung von Literatur. Sie als einzig mögliche oder gar einzig zulässige Strategie darzustellen, ist unpraktisch und sinnlos".
Das in unserem Land vorherrschende Kriterium stellt die "Werktreue" in den Vordergrund, aber selten wird die Frage nach dem "Warum" gestellt. Warum muss eine Übersetzung (so weit wie möglich) versuchen, dem Original treu zu bleiben? Was ist, wenn der Übersetzer eine andere Agenda, eine andere Präferenz hat? Was ist, wenn die gesellschaftliche Realität das Streben nach größtmöglicher Originaltreue nicht zulässt oder nicht begünstigt? Ist eine Übersetzung, die nicht ganz originalgetreu ist, zwangsläufig schädlich? Was ist, wenn eine Übersetzung, die nicht originalgetreu ist, ihr Ziel erreicht, selbst eine "gute" Übersetzung? Aber warum sollten die Menschen gezwungen sein, zwischen zwei Extremen zu wählen - 100 % Originaltreue auf der einen Seite und Null-Treue auf der anderen? Warum kann ein Übersetzer nicht entscheiden, ob er sich zu 70, 50 oder 30 Prozent an das Original halten will?
Wenn wir an den Anfang zurückgehen, an den ursprünglichen Zweck der Übersetzungstätigkeit, erscheint die Frage sehr einfach. Die Übersetzung ist aus dem Bedürfnis nach kulturellem Austausch entstanden. In dieser Hinsicht ist es vergleichbar mit der Einführung westlicher Malerei oder westlicher Musik im eigenen Land oder, im Gegensatz dazu, mit der Einführung chinesischer Malerei oder chinesischer Volksmusik im Ausland. Unabhängig von den anderen Zielen solcher Einführungen sind sie in einem primären und grundlegenden Ziel identisch: das Originalwerk so darzustellen, wie es von der Zielkultur rezipiert werden sollte. Wenn es absurd wäre, bei der Präsentation eines Gemäldes oder einer Musikkomposition die Farben, Linien oder Melodien eines Originalwerks zu verändern, dann würde die ideale Übersetzung keine willkürliche Veränderung des Originalwerks zulassen. An dieser Stelle ist absolute Originaltreue gefragt, und wir haben nicht die Wahl zwischen "70, 50 oder 30 Prozent".
Es ist klar, dass "Originaltreue" gleichbedeutend ist mit "objektiver Wahrhaftigkeit": "Originaltreue" impliziert die vollständige und unverfälschte Wiedergabe eines existierenden Objekts. Es ist aber auch klar, dass wir die Analogie zwischen der Übersetzung und der Präsentation von Bildern und Musik nicht aufrechterhalten können. Der Hauptgrund dafür liegt in dem unterschiedlichen Medium, das von den beiden verwendet wird. Herr Qian Zhongshu wies vor langer Zeit darauf hin, dass "wir unterscheiden sollten, dass, wenn das Medium der Malerei die Farbe und die Linie ist und das Medium der Musik der Ton ist, das Medium der Poesie nicht die Worte, sondern die Worte und die Bedeutung der Worte ist; wenn wir die Worte selbst als das Medium der Literatur nehmen und die Bedeutung der Ideen außer Acht lassen, dann wird ein Gedicht von der Form der Worte her als nichts als Tintenflecken erscheinen, und vom Klang der Worte her wird es wie nichts als Der Unterschied im Medium führt zu einem weiteren Problem. Dieser Unterschied des Mediums führt zu einem weiteren außerordentlich wichtigen Unterschied, der in der Übersetzungstheorie seit langem diskutiert wird: Die Darstellung eines Gemäldes oder eines Musikstücks kann in zwei Schritte unterteilt werden: zunächst die Wiedergabe des Originals, eines rein objektiven, physischen Phänomens (ein rein wissenschaftlicher Prozess, unabhängig davon, ob es verzerrt ist oder nicht), und dann die Interpretation der verschiedenen Bedeutungen, die das Werk haben kann; während bei der Übersetzung aufgrund der Besonderheit der sprachlichen In diesem alternativen Schritt konzentriert sich das gesamte Übersetzungsproblem, und es entstehen Zweifel an der Möglichkeit einer objektiven Originaltreue. Da die Interpretation unweigerlich von sozialen, historischen und vor allem subjektiven Faktoren auf Seiten des Übersetzers beeinflusst wird, wird argumentiert, dass die Anerkennung der Übersetzung als Interpretation gleichbedeutend mit der Anerkennung der Legitimität der subjektiven Entscheidung des Übersetzers ist. Die "Werktreue" wird so zu einem sehr subjektiven Konzept, das aufgrund des Fehlens einer objektiven Definition oder von Kriterien nicht praktikabel ist. Und wenn die Umfrage zeigt, dass die Übersetzungspraxis in der Vergangenheit nicht wirklich geschätzt oder erreicht wurde, bedeutet dies, dass sie in Wirklichkeit nicht existiert. Warum sollte man sich an eine Norm klammern, die in Wirklichkeit gar nicht existiert? Dies würde nur in eine "Sackgasse" führen.
Das Kriterium der "Originaltreue" bei der Übersetzung ist jedoch nicht so einfach von der Hand zu weisen. Wie in jeder anderen Disziplin auch, darf man die Bemühungen in dieser Richtung nicht aufgeben, nur weil man keine hundertprozentige Wahrheit erreichen kann. In der Praxis kann es vorkommen, dass ein gewisses Maß an "Originaltreue" geopfert wird, aber dies geschieht oft, um sicherzustellen, dass der größere Teil der "Originaltreue" erreicht wird, und zwar im Interesse einer "maximalen" Treue. Treue zum Original. Während es objektiv gesehen Übersetzungen gibt, die dem Originaltext nicht treu sind, sind Übersetzungen, die subjektiv gesehen dem Originaltext "untreu" sind, konzeptionell widersprüchlich. Der Übersetzer kann seine eigenen Grenzen nicht überschreiten, aber subjektiv kann er nicht "vorziehen" oder sich dafür entscheiden, "dreißig Prozent" originalgetreu zu sein. Sobald das subjektive Streben nach Originaltreue aufgegeben wird, gibt es für den Übersetzer keinen Grund mehr, bei "dreißig Prozent" stehen zu bleiben und sich auf zehn, fünf oder noch weniger Prozent zu bewegen. Das Streben nach Originaltreue ist also das Bindeglied zwischen dem Original und der Übersetzung, und sobald dieses Bindeglied durchtrennt ist, kann die Übersetzung nicht mehr als Übersetzung bezeichnet werden, ganz gleich, welchen anderen "'guten' Zweck" sie "erfüllt", und die Übersetzung wird natürlich aufhören zu existieren. Auf diese Weise muss die Bedeutung der "Werktreue" als subjektive Geste festgestellt werden. Das bedeutet jedoch nicht, dass der Widerspruch aufgelöst werden kann. Im Gegenteil, es bringt uns nur zum Ausgangspunkt des Widerspruchs zurück: dem Gegensatz zwischen "Werktreue" als objektivem Kriterium (Schritt 1) und "Werktreue" als subjektiver Geste (Schritt 2). Die Frage, wie man eine Einheit zwischen beiden erreichen oder zu erreichen versuchen kann, ist eines der zentralen Probleme, mit denen sich die Übersetzungstheorie befassen muss, und es ist immer schwieriger, als man denkt, trotz aller Bemühungen, die in diese Richtung unternommen wurden. In gewisser Weise ist dieses Problem mit dem Stein vergleichbar, den Sisyphos in der griechischen Mythologie nie auf den Gipfel des Berges schieben konnte und der einen ständigen Druck auf den Geist ausübt. Aus dieser Perspektive erscheint die Ablehnung des Kriteriums der "Werktreue" als tragischer Versuch, den Widerspruch zu umgehen, indem man sich von ihm zurückzieht und so dem Druck entgeht und völlige Freiheit erreicht. Es ist "tragisch", weil durch die Aufgabe der "Originaltreue" die Grundlagen der Übersetzungsdisziplin erschüttert werden und die Befürworter selbst an "Aphasie" leiden werden: jede Kritik an der Übersetzung wird ihre Spezifität verlieren. Jegliche Übersetzungskritik wird ihre Besonderheit verlieren und sich nicht mehr von der Hermeneutik, dem Kreationismus oder einer anderen Theorie unterscheiden können.

===Das unvermeidliche Streben nach "Szientismus" in der Übersetzung ===
Der Wert der "Werktreue" als subjektive Geste liegt darin, dass sie der "Werktreue" als objektives Kriterium angenähert werden muss, damit beide so weit wie möglich übereinstimmen und die Interpretation zu einer echten Kopie wird, und um dieses Ziel zu erreichen, muss man theoretisch Das beste Mittel, um dies zu erreichen, ist theoretisch die Wissenschaft. Es sei darauf hingewiesen, dass die Wissenschaft der Übersetzung nicht dasselbe ist wie die Wissenschaft der Malerei oder der Musik. Im ersten Fall beispielsweise ist die Malerei im Großen und Ganzen immer noch Kunst, auch wenn sie viele wissenschaftliche Elemente enthält. Die Farbpalette, die Beschaffenheit der Leinwand usw. sind rein physikalische Phänomene, und auch die Proportionen der verschiedenen Bildteile, das Verhältnis zwischen Hell und Dunkel und der Tonalität lassen sich wissenschaftlich analysieren, aber das macht sie nicht zu einer Wissenschaft, denn was letztlich den Erfolg eines Gemäldes bestimmt, ist die künstlerische Fähigkeit des Künstlers, es zu schaffen. Die Übersetzungswissenschaft hingegen hat als oberstes Ziel das Erreichen der "Werktreue" und sieht sich daher nicht als bloßer Untergebener der Kunst, sondern beansprucht die Vorherrschaft. Es ist ähnlich wie bei den Bemühungen der Wissenschaftler, zu verhindern, dass die Farben der Terrakottafiguren nach ihrer Ausgrabung abfärben: Sie haben einen Trank entwickelt, der, einmal aufgesprüht, die ursprünglichen Farben der Terrakottafiguren bewahrt. Hier könnte jedes künstlerische Mittel, jede schöpferische Phantasie, das ursprüngliche Erscheinungsbild verfälschen und ist daher inakzeptabel. Es ist auch von theoretischer Bedeutung, die Unvermeidbarkeit der wissenschaftlichen Beschäftigung mit der Übersetzung anzuerkennen. Obwohl sich der Szientismus der Übersetzung als ein Produkt des Geistes der modernen Wissenschaft und insbesondere einer sich schnell entwickelnden Linguistik manifestiert, ist er im Grunde tief in dem Wunsch verwurzelt, dem Original objektiv treu zu sein, und die Übersetzung enthält von Anfang an eine Grundlage für ihre Existenz, die nicht einfach als ein Mittel abgetan werden kann, sich von außen aufzudrängen. Der Verweis auf den "linguistischen Komplex der Übersetzung" zeigt anschaulich diese enge Verbindung zwischen Übersetzung und Wissenschaft. Aus diesem Grund findet sich der Geist der Wissenschaft bisweilen sogar in der traditionellen Übersetzungstheorie, die stark künstlerisch geprägt ist. Natürlich war es erst in der Neuzeit, mit der Gründung der modernen Linguistik, wirklich möglich, die Fahne der Übersetzungswissenschaft hochzuhalten und sich auf die wissenschaftliche Basis zu konzentrieren. Der Unterschied zwischen "Äquivalenz" und "Äquivalenz" und der Kunsttheorie liegt nicht in dem Wort "Äquivalenz", sondern in der Tatsache, dass sie den wissenschaftlichen Geist in den gesamten Übersetzungsprozess tragen. Von diesem Geist geleitet, hat die Übersetzungstheorie fruchtbare Ergebnisse erzielt, wurde immer feiner und strenger und bewegte sich mehr und mehr in Richtung Normativität und Operabilität. Gründliche Wissenschaftlichkeit würde, wenn möglich, zu einer eindeutig akzeptablen Übersetzung führen, die den Test der wiederholten Rückübersetzung bestehen würde. Doch die Scientology, so zuversichtlich sie zu Beginn auch war, kann nicht anders, als in tiefe Verwirrung zu geraten. Einerseits hat sie sinnvolle Arbeit geleistet und wird dies auch weiterhin tun, und obwohl sie als "Sackgasse" angeprangert wird, werden die Menschen diesen Weg "immer weiter gehen". Andererseits scheint das Ziel umso weiter entfernt und die Hindernisse auf dem Weg dorthin umso unüberwindlicher zu sein, je weiter es geht.

===Hinwendung zur Kunst===
Das Paradoxon der wissenschaftlichen Übersetzungstheorie ist nach wie vor in den bereits erwähnten Eigenschaften des Mediums - der Sprache - begründet, auf das sich der Gegenstand der Übersetzung bezieht. Es ist eine Eigenschaft, die es der Wissenschaft unmöglich macht, ihre Aufgabe zu erfüllen, so dass sie sich, wenn auch widerstrebend, der Kunst zuwenden muss.
Zunächst einmal ist es eine Tatsache, die die meisten Menschen bereits akzeptieren: Während die Wissenschaft versucht, die Bedeutung eines Textes Stück für Stück in ihrer Sprache umzusetzen, weigert sich die Sprache immer, ihre volle Bedeutung aufzugeben. In der Tat könnte die moderne kritische Theorie sagen, dass es so etwas wie eine "totale Bedeutung" nicht gibt. Je nach kulturellem Wissen, zeitlichem Hintergrund, Ideologie und anderen Bedingungen werden verschiedene Übersetzer denselben Text unterschiedlich interpretieren. Mit anderen Worten: Einem Werk können jederzeit neue Bedeutungen entlockt werden. Das Ergebnis ist, so fürchte ich, dass es, um es mit den Worten zu sagen, "tausend Übersetzer und tausend Hamlets" gibt. Dies ist in der Tat "ein Paradox, das die Rezeptionsästhetik der Übersetzung überlässt". Solange wir aber anerkennen, dass der Prozess der Übersetzung auch ein Prozess der Interpretation ist, ist dies eine Tatsache, die nicht zu vermeiden ist. Zweitens werden verschiedene Übersetzer, selbst wenn sie von demselben Ausgangspunkt des Verständnisses ausgehen, unweigerlich dazu neigen, sich in ihrem Ausdrucksverfahren zu unterscheiden. Keine zwei Menschen werden genau dieselbe Sprache verwenden, denn "einerseits gibt es nur eine Sprache für die gesamte Menschheit, andererseits hat jeder Mensch eine eigene Sprache" und "Worte werden immer von einer bestimmten Person für eine andere Person verwendet, und dieser konkrete Kontext bestimmt und verändert ihre Bedeutung. " Der Übersetzer bezieht sich selbst immer mehr oder weniger stark in den Prozess des Ausdrucks ein. Dieser Prozess ist gleichzeitig untrennbar mit dem Prozess der Interpretation verbunden, und die Kombination von beidem bedingt, dass die Übersetzung nicht so objektiv und wissenschaftlich sein kann, wie wir es gerne hätten, sondern Raum für künstlerische Denkweisen wie Intuition, Deduktion und Inspiration lassen muss.
Die durch Interpretation und Ausdruck eingeführten Unterschiede bedeuten, dass die Möglichkeit verschiedener Übersetzungen besteht, was die einzige unveränderliche und absolut originalgetreue Übersetzung leugnet und somit der erste Schritt zur Demontage der wissenschaftlichen Methode ist. Aber es ist das unübersetzbare Element der Sprache, das den Übersetzer wirklich dazu bringt, die künstlerische Methode bewusst anzuwenden: die formalen Unterschiede zwischen den Sprachen und die darin eingebetteten kulturellen Unterschiede. Es ist zum Konsens der meisten Menschen geworden, dass ein mehr oder weniger großer Teil der Bedeutung eines Textes nur in der Form der Originalsprache oder in der Kultur der Originalsprache existieren kann. In der Übersetzung kann das Fehlen dieses Teils der Bedeutung die Gesamtwirkung der Übersetzung beeinträchtigen oder sie sogar unhaltbar machen. Deshalb muss der Übersetzer es neu erschaffen, damit die Übersetzung, auch wenn sie nicht mit dem Original übereinstimmt, neben ihm stehen und ihm ähnlich sein kann. Der Ausspruch von Herrn Qian Zhongshu: "Wenn wir also wissen, dass der 'Text' verloren gehen muss, und wenn der 'Text' nicht 'verloren' ist, wird er nicht übersetzt", ist die beste Illustration dieser Situation. Auf diese Weise ist die Existenz der Kunst in der Übersetzung, ebenso wie die der Wissenschaft, auf das Streben nach "Originaltreue" zurückzuführen. Wenn der Originaltext Kunst ist, muss eine originalgetreue Übersetzung ihn wieder zu einem Kunstwerk machen. Wenn dies mit der Methode der Disaggregation nicht erreicht werden kann, besteht die einzige Möglichkeit darin, sie neu zu schaffen.
In der Frage der Unübersetzbarkeit besteht natürlich keine Einigkeit. Einige betonen die Ausdruckskraft der Sprache und argumentieren, dass es keine Lücke zwischen Verstehen und Wiedergeben gibt. Legt man dagegen den Schwerpunkt auf die "Werktreue", so ist die Unübersetzbarkeit fast überall zu finden. George Murnane hat gesagt: "Wenn wir die gängigen Vorstellungen der modernen Linguistik über Wortschatz, Grammatik und Syntax akzeptieren, können wir fast mit Sicherheit sagen, dass Übersetzung unmöglich ist. Nur sehr wenige Menschen sind bereit, dies zu akzeptieren. Sie ziehen es vor zu denken, dass "das Unmögliche nur eine bestimmte Art von Übersetzung ist, eine bestimmte Art von Übersetzung, die wir voraussetzen, die wir anstreben, die es aber nie wirklich gibt". Aber in jedem Fall muss man zugeben, dass es ein beträchtliches Maß an Unübersetzbarkeit gibt, zumindest für die strenge wissenschaftliche Methode, die seit jeher die Grundlage der Kunst der Übersetzungstheorie ist. Oder anders ausgedrückt: Kunst ist für Übersetzer eine Möglichkeit, mit den unüberwindbaren Barrieren zwischen Sprachen und Kulturen umzugehen.
Aristoteles sagte: "Alle Kunst befasst sich mit dem Prozess des Entstehens, d.h. mit dem Herausfinden, dem Nachdenken darüber, wie man etwas ins Dasein bringt, das gleichzeitig existieren kann und nicht existieren kann." Das heißt, es gibt keine Notwendigkeit für die Form eines Kunstwerkes, sondern nur eine Möglichkeit. Und genau das geschieht bei der Übersetzung. Man muss sich nur die vielen Neuübersetzungen, insbesondere von Gedichten, ansehen, um dies zu erkennen. Der Übersetzungsprozess ist durchdrungen vom subjektiven Element des Übersetzers und ist von Anfang bis Ende Kunst. Die Entwicklung der Linguistik legte den Grundstein für den Szientismus, aber es war gleichzeitig ein tieferes Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Dennoch unterscheidet sich die Interpretation von Kunst in der Übersetzung auf dieser Grundlage grundlegend von der Auffassung der so genannten literarischen Schule. Hier ist die Kunst nicht durch die Natur der Übersetzung vorgeschrieben, sondern eher als Ergänzung oder als letzter Ausweg zum Ersatz der Wissenschaft. Die Wissenschaft braucht einen festen Stand, und wenn sie auf Treibsand stößt, muss sie auf die frei fliegenden Flügel der Kunst zurückgreifen. Doch mit dem Eintreten der Kunst entstand ein neuer und komplexerer Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft.

===Zwei Attribute der Übersetzungsarbeit, die sowohl einheitlich als auch widersprüchlich sind===
Die obige Diskussion zeigt, dass der Prozess des Aufzeigens der Bedeutung des Ziels der "Treue" für die Übersetzung, der Notwendigkeit wissenschaftlicher und künstlerischer Mittel, auch der Prozess der Offenlegung des Widerspruchs zwischen ihnen ist, der uns Schritt für Schritt die Komplexität dieses Widerspruchs bewusst macht. "Treue" ist ein notwendiger Bestandteil des Übersetzungskonzepts, aber von Anfang an hat es den Anschein, dass sein Gegenstand unbestimmt ist. Sie ist dazu bestimmt, unter dem Problem zu leiden, "wem sie treu sein soll", und alle Streitigkeiten und Verwirrungen der Hermeneutik auszuspielen. Die Verwissenschaftlichung ist eine unabdingbare Voraussetzung dafür, dass die Übersetzung ihr Ziel der Werktreue erreicht, ein angeborener Wunsch. Die Natur der Sprache im Lichte der modernen Linguistik und der modernen kritischen Theorie macht es der Wissenschaft jedoch unmöglich, den gesamten Prozess der Übersetzung in ihr System zu integrieren. Die Kunst scheint in der Lage zu sein, der Wissenschaft bei ihrer Aufgabe zu helfen, aber sie tut dies, indem sie Unterschiede einführt, indem sie rebelliert. Das ist genau das, was der wissenschaftliche Geist nicht duldet. Die Wissenschaft ist ehrgeizig, aber sie kann die Übersetzung wegen der Hindernisse der Sprache nicht zum Fliegen bringen; die Flügel der Kunst sind durch die Wissenschaft in ihrer Schwingungsweite begrenzt, und die Übersetzung scheint in einem Dilemma zu leben. Die Wissenschaft hofft natürlich, ihre Mission eines Tages durch ständige Selbstvervollständigung selbst zu erfüllen, aber sie ist dazu bestimmt, der Kunst, ihrem nicht immer willkommenen Freund, nie zu entkommen. Es liegt in der Natur der Kunst, hoch zu fliegen, aber hier muss sie immer den Schmerz der Begrenzung, den besonderen Schmerz der Übersetzung, ertragen. Diese interdependente, aber sich gegenseitig ausschließende Beziehung zwischen Wissenschaft und Kunst ist die Wurzel der langjährigen Debatte zwischen Scientology und Kunsttheorie. Dies kann nicht einfach darauf zurückgeführt werden, dass die Kommentatoren jeweils auf der einen Seite des Arguments stehen und auf der anderen nicht. Nicht nur, dass jede Seite ihre eigenen Gründe hat, sondern auch, dass jede Seite eine Negation der anderen Seite impliziert, und anzuerkennen, dass Übersetzung sowohl Wissenschaft als auch Kunst ist, bedeutet für beide Seiten, zuzugeben, dass Übersetzung unüberbrückbare Widersprüche in sich selbst enthält. Für die Wissenschaft bedeutet dies, dass sie sich der Tatsache stellen muss, dass "das Mittel der Treue die Rebellion ist", auch wenn es sich um eine begrenzte Rebellion handelt, während die Kunsttheorie das schmerzhafte Paradoxon der "Kunst in Selbstverleugnung" akzeptieren muss. All diese Widersprüche in der Übersetzung haben viele Menschen dazu veranlasst, sich mit ihr zu befassen, und haben uns gleichzeitig viele theoretische Probleme, viele "Klischees" beschert, die uns als "vielfach gequält" angeprangert worden sind. Natürlich muss die Theorie, wie es ihre innere Logik verlangt, beharrlich daran arbeiten, ein System aufzubauen, in dem alle Widersprüche erklärt werden können, aber man sollte sich darüber im Klaren sein, dass dies ein langfristiger Prozess ist und dass es zu kostspielig wäre, die Anforderung der "Treue" einfach zu reduzieren und sie zur Option zu machen. Am anderen Ende des Spektrums steht die Tendenz, jede Verbindung zwischen Mittel und Gegenstand zu unterbrechen und in eine völlige Unübersetzbarkeit zu verfallen, die nicht nur theoretisch sinnlos, sondern auch praktisch inakzeptabel ist. Es besteht auch die Tendenz, bei der Übersetzung eine "dialektische Einheit von künstlerischer Kreativität und wissenschaftlicher Treue" herzustellen. Dieser Ansatz mag tiefgründig erscheinen, aber er kann leicht oberflächlich werden und zu einer leeren Hülle stereotyper Denkweisen führen, die den widersprüchlichen Charakter von Wissenschaft und Kunst in der Übersetzung verschleiern. Wir leugnen nicht, dass es eine Einheit zwischen den beiden gibt, zum Beispiel, dass sie beide dem Ziel der "Treue" dienen; wir sollten auch ein gewisses Maß an Interdependenz zwischen ihnen anerkennen, aber sie sind nicht zwei Seiten desselben Papiers, nicht zwei untrennbare und komplementäre Seiten derselben Sache. Sie sind durch eine Reihe äußerer Faktoren miteinander verbunden - das "getreue" Ziel der Übersetzung, die Besonderheit ihres Gegenstandes usw. -, so dass sie theoretisch eher widersprüchlich als einheitlich sein können, sich gegenseitig ausschließen als harmonisch integriert. Wenn zum Beispiel eine Übersetzung für sich genommen ein gelungenes Kunstwerk ist, muss sie von vielen wissenschaftlichen Elementen profitieren, und alle Begriffe, die zur Beschreibung dieser Beziehung zwischen Wissenschaft und Kunst verwendet werden, könnten zur Beschreibung der dialektischen Einheit verwendet werden, aber aus der Sicht der Übersetzungswissenschaft könnte sie dennoch ein Misserfolg sein, weil sie nicht getreu ist. Es gibt zwei Wissenschaften in der Übersetzung, die Übersetzungswissenschaft und eine der Schöpfungswissenschaft ähnliche Wissenschaft, die die letztere umfassen kann, aber nicht in einer "dialektischen Beziehung" zu ihr steht, im Gegensatz zu letzterer, die der Kunst dient. Sie hat Treue als höchstes Ziel und ist daher eher kunstfremd. Aus diesem Grund hat sich die Übersetzungstheorie "fragmentarisch" entlang der verschiedenen Linien der linguistischen und literarischen Schulen entwickelt, um das zu erreichen, was jede bisher erreicht hat.

===References ===
黄振定《文学翻译评价的科学性及其科学论》
黄振定《翻译学是一门人文学科》
赵巍《翻译学学科性质与研究方法反思》

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Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

==Abstract ==
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==
Künstlerisch, wissenschaftlich und textgetreu
===题目===
“艺术”论与“科学”论在翻译实践中的统一

===摘要===
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

=== 关键词 ===

艺术论科学论忠于原文

=== Introduction===
Die Entwicklung der Linguistik legte den Grundstein für die Scientology, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Die Entwicklung der Linguistik lieferte die Grundlage für die wissenschaftliche Theorie, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Trotzdem, Die Interpretation der Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich grundlegend von dem, was oft als literarische Schule bezeichnet wird Die Interpretation von Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich jedoch grundlegend von der Auffassung der so genannten literarischen Schule. Hier ist die Kunst nicht durch die Natur der Übersetzung vorgeschrieben, sondern als Ergänzung zur Wissenschaft. sondern vielmehr als Ergänzung oder Ersatz für die Wissenschaft. Wissenschaft Die Wissenschaft braucht einen festen Boden, und wenn sie Treibsand unter ihren Füßen findet Wenn man Treibsand unter den Füßen hat, muss man auf die Flügel der Phantasie zurückgreifen, auf denen die Kunst frei fliegen kann. Aber, Mit dem Eintreten der Kunst kam es jedoch zu einem neuen und komplexeren Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft. Der Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft.

=== Die Widersprüche der "Werktreue" in der tatsächlichen Übersetzung===
Das Ziel der "Originaltreue" ist eine natürliche Anforderung an Übersetzer und steht seit Jahrhunderten im Mittelpunkt der Übersetzungstheorie und -praxis. In letzter Zeit scheint es jedoch eine gewisse Skepsis und sogar Leugnung zu geben. Lefebvre sagt: "Die Treue zum Original ist nur eine von vielen Übersetzungsstrategien, das Produkt einer Kombination aus einer bestimmten Ideologie und einer bestimmten Auffassung von Literatur. Sie als einzig mögliche oder gar einzig zulässige Strategie darzustellen, ist unpraktisch und sinnlos".
Das in unserem Land vorherrschende Kriterium stellt die "Werktreue" in den Vordergrund, aber selten wird die Frage nach dem "Warum" gestellt. Warum muss eine Übersetzung (so weit wie möglich) versuchen, dem Original treu zu bleiben? Was ist, wenn der Übersetzer eine andere Agenda, eine andere Präferenz hat? Was ist, wenn die gesellschaftliche Realität das Streben nach größtmöglicher Originaltreue nicht zulässt oder nicht begünstigt? Ist eine Übersetzung, die nicht ganz originalgetreu ist, zwangsläufig schädlich? Was ist, wenn eine Übersetzung, die nicht originalgetreu ist, ihr Ziel erreicht, selbst eine "gute" Übersetzung? Aber warum sollten die Menschen gezwungen sein, zwischen zwei Extremen zu wählen - 100 % Originaltreue auf der einen Seite und Null-Treue auf der anderen? Warum kann ein Übersetzer nicht entscheiden, ob er sich zu 70, 50 oder 30 Prozent an das Original halten will?
Wenn wir an den Anfang zurückgehen, an den ursprünglichen Zweck der Übersetzungstätigkeit, erscheint die Frage sehr einfach. Die Übersetzung ist aus dem Bedürfnis nach kulturellem Austausch entstanden. In dieser Hinsicht ist es vergleichbar mit der Einführung westlicher Malerei oder westlicher Musik im eigenen Land oder, im Gegensatz dazu, mit der Einführung chinesischer Malerei oder chinesischer Volksmusik im Ausland. Unabhängig von den anderen Zielen solcher Einführungen sind sie in einem primären und grundlegenden Ziel identisch: das Originalwerk so darzustellen, wie es von der Zielkultur rezipiert werden sollte. Wenn es absurd wäre, bei der Präsentation eines Gemäldes oder einer Musikkomposition die Farben, Linien oder Melodien eines Originalwerks zu verändern, dann würde die ideale Übersetzung keine willkürliche Veränderung des Originalwerks zulassen. An dieser Stelle ist absolute Originaltreue gefragt, und wir haben nicht die Wahl zwischen "70, 50 oder 30 Prozent".
Es ist klar, dass "Originaltreue" gleichbedeutend ist mit "objektiver Wahrhaftigkeit": "Originaltreue" impliziert die vollständige und unverfälschte Wiedergabe eines existierenden Objekts. Es ist aber auch klar, dass wir die Analogie zwischen der Übersetzung und der Präsentation von Bildern und Musik nicht aufrechterhalten können. Der Hauptgrund dafür liegt in dem unterschiedlichen Medium, das von den beiden verwendet wird. Herr Qian Zhongshu wies vor langer Zeit darauf hin, dass "wir unterscheiden sollten, dass, wenn das Medium der Malerei die Farbe und die Linie ist und das Medium der Musik der Ton ist, das Medium der Poesie nicht die Worte, sondern die Worte und die Bedeutung der Worte ist; wenn wir die Worte selbst als das Medium der Literatur nehmen und die Bedeutung der Ideen außer Acht lassen, dann wird ein Gedicht von der Form der Worte her als nichts als Tintenflecken erscheinen, und vom Klang der Worte her wird es wie nichts als Der Unterschied im Medium führt zu einem weiteren Problem. Dieser Unterschied des Mediums führt zu einem weiteren außerordentlich wichtigen Unterschied, der in der Übersetzungstheorie seit langem diskutiert wird: Die Darstellung eines Gemäldes oder eines Musikstücks kann in zwei Schritte unterteilt werden: zunächst die Wiedergabe des Originals, eines rein objektiven, physischen Phänomens (ein rein wissenschaftlicher Prozess, unabhängig davon, ob es verzerrt ist oder nicht), und dann die Interpretation der verschiedenen Bedeutungen, die das Werk haben kann; während bei der Übersetzung aufgrund der Besonderheit der sprachlichen In diesem alternativen Schritt konzentriert sich das gesamte Übersetzungsproblem, und es entstehen Zweifel an der Möglichkeit einer objektiven Originaltreue. Da die Interpretation unweigerlich von sozialen, historischen und vor allem subjektiven Faktoren auf Seiten des Übersetzers beeinflusst wird, wird argumentiert, dass die Anerkennung der Übersetzung als Interpretation gleichbedeutend mit der Anerkennung der Legitimität der subjektiven Entscheidung des Übersetzers ist. Die "Werktreue" wird so zu einem sehr subjektiven Konzept, das aufgrund des Fehlens einer objektiven Definition oder von Kriterien nicht praktikabel ist. Und wenn die Umfrage zeigt, dass die Übersetzungspraxis in der Vergangenheit nicht wirklich geschätzt oder erreicht wurde, bedeutet dies, dass sie in Wirklichkeit nicht existiert. Warum sollte man sich an eine Norm klammern, die in Wirklichkeit gar nicht existiert? Dies würde nur in eine "Sackgasse" führen.
Das Kriterium der "Originaltreue" bei der Übersetzung ist jedoch nicht so einfach von der Hand zu weisen. Wie in jeder anderen Disziplin auch, darf man die Bemühungen in dieser Richtung nicht aufgeben, nur weil man keine hundertprozentige Wahrheit erreichen kann. In der Praxis kann es vorkommen, dass ein gewisses Maß an "Originaltreue" geopfert wird, aber dies geschieht oft, um sicherzustellen, dass der größere Teil der "Originaltreue" erreicht wird, und zwar im Interesse einer "maximalen" Treue. Treue zum Original. Während es objektiv gesehen Übersetzungen gibt, die dem Originaltext nicht treu sind, sind Übersetzungen, die subjektiv gesehen dem Originaltext "untreu" sind, konzeptionell widersprüchlich. Der Übersetzer kann seine eigenen Grenzen nicht überschreiten, aber subjektiv kann er nicht "vorziehen" oder sich dafür entscheiden, "dreißig Prozent" originalgetreu zu sein. Sobald das subjektive Streben nach Originaltreue aufgegeben wird, gibt es für den Übersetzer keinen Grund mehr, bei "dreißig Prozent" stehen zu bleiben und sich auf zehn, fünf oder noch weniger Prozent zu bewegen. Das Streben nach Originaltreue ist also das Bindeglied zwischen dem Original und der Übersetzung, und sobald dieses Bindeglied durchtrennt ist, kann die Übersetzung nicht mehr als Übersetzung bezeichnet werden, ganz gleich, welchen anderen "'guten' Zweck" sie "erfüllt", und die Übersetzung wird natürlich aufhören zu existieren. Auf diese Weise muss die Bedeutung der "Werktreue" als subjektive Geste festgestellt werden. Das bedeutet jedoch nicht, dass der Widerspruch aufgelöst werden kann. Im Gegenteil, es bringt uns nur zum Ausgangspunkt des Widerspruchs zurück: dem Gegensatz zwischen "Werktreue" als objektivem Kriterium (Schritt 1) und "Werktreue" als subjektiver Geste (Schritt 2). Die Frage, wie man eine Einheit zwischen beiden erreichen oder zu erreichen versuchen kann, ist eines der zentralen Probleme, mit denen sich die Übersetzungstheorie befassen muss, und es ist immer schwieriger, als man denkt, trotz aller Bemühungen, die in diese Richtung unternommen wurden. In gewisser Weise ist dieses Problem mit dem Stein vergleichbar, den Sisyphos in der griechischen Mythologie nie auf den Gipfel des Berges schieben konnte und der einen ständigen Druck auf den Geist ausübt. Aus dieser Perspektive erscheint die Ablehnung des Kriteriums der "Werktreue" als tragischer Versuch, den Widerspruch zu umgehen, indem man sich von ihm zurückzieht und so dem Druck entgeht und völlige Freiheit erreicht. Es ist "tragisch", weil durch die Aufgabe der "Originaltreue" die Grundlagen der Übersetzungsdisziplin erschüttert werden und die Befürworter selbst an "Aphasie" leiden werden: jede Kritik an der Übersetzung wird ihre Spezifität verlieren. Jegliche Übersetzungskritik wird ihre Besonderheit verlieren und sich nicht mehr von der Hermeneutik, dem Kreationismus oder einer anderen Theorie unterscheiden können.

===Das unvermeidliche Streben nach "Szientismus" in der Übersetzung ===
Der Wert der "Werktreue" als subjektive Geste liegt darin, dass sie der "Werktreue" als objektives Kriterium angenähert werden muss, damit beide so weit wie möglich übereinstimmen und die Interpretation zu einer echten Kopie wird, und um dieses Ziel zu erreichen, muss man theoretisch Das beste Mittel, um dies zu erreichen, ist theoretisch die Wissenschaft. Es sei darauf hingewiesen, dass die Wissenschaft der Übersetzung nicht dasselbe ist wie die Wissenschaft der Malerei oder der Musik. Im ersten Fall beispielsweise ist die Malerei im Großen und Ganzen immer noch Kunst, auch wenn sie viele wissenschaftliche Elemente enthält. Die Farbpalette, die Beschaffenheit der Leinwand usw. sind rein physikalische Phänomene, und auch die Proportionen der verschiedenen Bildteile, das Verhältnis zwischen Hell und Dunkel und der Tonalität lassen sich wissenschaftlich analysieren, aber das macht sie nicht zu einer Wissenschaft, denn was letztlich den Erfolg eines Gemäldes bestimmt, ist die künstlerische Fähigkeit des Künstlers, es zu schaffen. Die Übersetzungswissenschaft hingegen hat als oberstes Ziel das Erreichen der "Werktreue" und sieht sich daher nicht als bloßer Untergebener der Kunst, sondern beansprucht die Vorherrschaft. Es ist ähnlich wie bei den Bemühungen der Wissenschaftler, zu verhindern, dass die Farben der Terrakottafiguren nach ihrer Ausgrabung abfärben: Sie haben einen Trank entwickelt, der, einmal aufgesprüht, die ursprünglichen Farben der Terrakottafiguren bewahrt. Hier könnte jedes künstlerische Mittel, jede schöpferische Phantasie, das ursprüngliche Erscheinungsbild verfälschen und ist daher inakzeptabel. Es ist auch von theoretischer Bedeutung, die Unvermeidbarkeit der wissenschaftlichen Beschäftigung mit der Übersetzung anzuerkennen. Obwohl sich der Szientismus der Übersetzung als ein Produkt des Geistes der modernen Wissenschaft und insbesondere einer sich schnell entwickelnden Linguistik manifestiert, ist er im Grunde tief in dem Wunsch verwurzelt, dem Original objektiv treu zu sein, und die Übersetzung enthält von Anfang an eine Grundlage für ihre Existenz, die nicht einfach als ein Mittel abgetan werden kann, sich von außen aufzudrängen. Der Verweis auf den "linguistischen Komplex der Übersetzung" zeigt anschaulich diese enge Verbindung zwischen Übersetzung und Wissenschaft. Aus diesem Grund findet sich der Geist der Wissenschaft bisweilen sogar in der traditionellen Übersetzungstheorie, die stark künstlerisch geprägt ist. Natürlich war es erst in der Neuzeit, mit der Gründung der modernen Linguistik, wirklich möglich, die Fahne der Übersetzungswissenschaft hochzuhalten und sich auf die wissenschaftliche Basis zu konzentrieren. Der Unterschied zwischen "Äquivalenz" und "Äquivalenz" und der Kunsttheorie liegt nicht in dem Wort "Äquivalenz", sondern in der Tatsache, dass sie den wissenschaftlichen Geist in den gesamten Übersetzungsprozess tragen. Von diesem Geist geleitet, hat die Übersetzungstheorie fruchtbare Ergebnisse erzielt, wurde immer feiner und strenger und bewegte sich mehr und mehr in Richtung Normativität und Operabilität. Gründliche Wissenschaftlichkeit würde, wenn möglich, zu einer eindeutig akzeptablen Übersetzung führen, die den Test der wiederholten Rückübersetzung bestehen würde. Doch die Scientology, so zuversichtlich sie zu Beginn auch war, kann nicht anders, als in tiefe Verwirrung zu geraten. Einerseits hat sie sinnvolle Arbeit geleistet und wird dies auch weiterhin tun, und obwohl sie als "Sackgasse" angeprangert wird, werden die Menschen diesen Weg "immer weiter gehen". Andererseits scheint das Ziel umso weiter entfernt und die Hindernisse auf dem Weg dorthin umso unüberwindlicher zu sein, je weiter es geht.

= = = Conclusion = = =
Bla, bla, bla
= = = References = = =

Finals Trans 3

2022-12-28T15:19:19Z

Liu Ziwei: /* = = Introduction = = */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

==Abstract ==
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==
Künstlerisch, wissenschaftlich und textgetreu
===题目===
“艺术”论与“科学”论在翻译实践中的统一

===摘要===
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

=== 关键词 ===

艺术论科学论忠于原文

=== Introduction===
Die Entwicklung der Linguistik legte den Grundstein für die Scientology, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Die Entwicklung der Linguistik lieferte die Grundlage für die wissenschaftliche Theorie, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Trotzdem, Die Interpretation der Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich grundlegend von dem, was oft als literarische Schule bezeichnet wird Die Interpretation von Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich jedoch grundlegend von der Auffassung der so genannten literarischen Schule. Hier ist die Kunst nicht durch die Natur der Übersetzung vorgeschrieben, sondern als Ergänzung zur Wissenschaft. sondern vielmehr als Ergänzung oder Ersatz für die Wissenschaft. Wissenschaft Die Wissenschaft braucht einen festen Boden, und wenn sie Treibsand unter ihren Füßen findet Wenn man Treibsand unter den Füßen hat, muss man auf die Flügel der Phantasie zurückgreifen, auf denen die Kunst frei fliegen kann. Aber, Mit dem Eintreten der Kunst kam es jedoch zu einem neuen und komplexeren Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft. Der Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft.

=== Die Widersprüche der "Werktreue" in der tatsächlichen Übersetzung===
Das Ziel der "Originaltreue" ist eine natürliche Anforderung an Übersetzer und steht seit Jahrhunderten im Mittelpunkt der Übersetzungstheorie und -praxis. In letzter Zeit scheint es jedoch eine gewisse Skepsis und sogar Leugnung zu geben. Lefebvre sagt: "Die Treue zum Original ist nur eine von vielen Übersetzungsstrategien, das Produkt einer Kombination aus einer bestimmten Ideologie und einer bestimmten Auffassung von Literatur. Sie als einzig mögliche oder gar einzig zulässige Strategie darzustellen, ist unpraktisch und sinnlos".
Das in unserem Land vorherrschende Kriterium stellt die "Werktreue" in den Vordergrund, aber selten wird die Frage nach dem "Warum" gestellt. Warum muss eine Übersetzung (so weit wie möglich) versuchen, dem Original treu zu bleiben? Was ist, wenn der Übersetzer eine andere Agenda, eine andere Präferenz hat? Was ist, wenn die gesellschaftliche Realität das Streben nach größtmöglicher Originaltreue nicht zulässt oder nicht begünstigt? Ist eine Übersetzung, die nicht ganz originalgetreu ist, zwangsläufig schädlich? Was ist, wenn eine Übersetzung, die nicht originalgetreu ist, ihr Ziel erreicht, selbst eine "gute" Übersetzung? Aber warum sollten die Menschen gezwungen sein, zwischen zwei Extremen zu wählen - 100 % Originaltreue auf der einen Seite und Null-Treue auf der anderen? Warum kann ein Übersetzer nicht entscheiden, ob er sich zu 70, 50 oder 30 Prozent an das Original halten will?
Wenn wir an den Anfang zurückgehen, an den ursprünglichen Zweck der Übersetzungstätigkeit, erscheint die Frage sehr einfach. Die Übersetzung ist aus dem Bedürfnis nach kulturellem Austausch entstanden. In dieser Hinsicht ist es vergleichbar mit der Einführung westlicher Malerei oder westlicher Musik im eigenen Land oder, im Gegensatz dazu, mit der Einführung chinesischer Malerei oder chinesischer Volksmusik im Ausland. Unabhängig von den anderen Zielen solcher Einführungen sind sie in einem primären und grundlegenden Ziel identisch: das Originalwerk so darzustellen, wie es von der Zielkultur rezipiert werden sollte. Wenn es absurd wäre, bei der Präsentation eines Gemäldes oder einer Musikkomposition die Farben, Linien oder Melodien eines Originalwerks zu verändern, dann würde die ideale Übersetzung keine willkürliche Veränderung des Originalwerks zulassen. An dieser Stelle ist absolute Originaltreue gefragt, und wir haben nicht die Wahl zwischen "70, 50 oder 30 Prozent".
Es ist klar, dass "Originaltreue" gleichbedeutend ist mit "objektiver Wahrhaftigkeit": "Originaltreue" impliziert die vollständige und unverfälschte Wiedergabe eines existierenden Objekts. Es ist aber auch klar, dass wir die Analogie zwischen der Übersetzung und der Präsentation von Bildern und Musik nicht aufrechterhalten können. Der Hauptgrund dafür liegt in dem unterschiedlichen Medium, das von den beiden verwendet wird. Herr Qian Zhongshu wies vor langer Zeit darauf hin, dass "wir unterscheiden sollten, dass, wenn das Medium der Malerei die Farbe und die Linie ist und das Medium der Musik der Ton ist, das Medium der Poesie nicht die Worte, sondern die Worte und die Bedeutung der Worte ist; wenn wir die Worte selbst als das Medium der Literatur nehmen und die Bedeutung der Ideen außer Acht lassen, dann wird ein Gedicht von der Form der Worte her als nichts als Tintenflecken erscheinen, und vom Klang der Worte her wird es wie nichts als Der Unterschied im Medium führt zu einem weiteren Problem. Dieser Unterschied des Mediums führt zu einem weiteren außerordentlich wichtigen Unterschied, der in der Übersetzungstheorie seit langem diskutiert wird: Die Darstellung eines Gemäldes oder eines Musikstücks kann in zwei Schritte unterteilt werden: zunächst die Wiedergabe des Originals, eines rein objektiven, physischen Phänomens (ein rein wissenschaftlicher Prozess, unabhängig davon, ob es verzerrt ist oder nicht), und dann die Interpretation der verschiedenen Bedeutungen, die das Werk haben kann; während bei der Übersetzung aufgrund der Besonderheit der sprachlichen In diesem alternativen Schritt konzentriert sich das gesamte Übersetzungsproblem, und es entstehen Zweifel an der Möglichkeit einer objektiven Originaltreue. Da die Interpretation unweigerlich von sozialen, historischen und vor allem subjektiven Faktoren auf Seiten des Übersetzers beeinflusst wird, wird argumentiert, dass die Anerkennung der Übersetzung als Interpretation gleichbedeutend mit der Anerkennung der Legitimität der subjektiven Entscheidung des Übersetzers ist. Die "Werktreue" wird so zu einem sehr subjektiven Konzept, das aufgrund des Fehlens einer objektiven Definition oder von Kriterien nicht praktikabel ist. Und wenn die Umfrage zeigt, dass die Übersetzungspraxis in der Vergangenheit nicht wirklich geschätzt oder erreicht wurde, bedeutet dies, dass sie in Wirklichkeit nicht existiert. Warum sollte man sich an eine Norm klammern, die in Wirklichkeit gar nicht existiert? Dies würde nur in eine "Sackgasse" führen.
Das Kriterium der "Originaltreue" bei der Übersetzung ist jedoch nicht so einfach von der Hand zu weisen. Wie in jeder anderen Disziplin auch, darf man die Bemühungen in dieser Richtung nicht aufgeben, nur weil man keine hundertprozentige Wahrheit erreichen kann. In der Praxis kann es vorkommen, dass ein gewisses Maß an "Originaltreue" geopfert wird, aber dies geschieht oft, um sicherzustellen, dass der größere Teil der "Originaltreue" erreicht wird, und zwar im Interesse einer "maximalen" Treue. Treue zum Original. Während es objektiv gesehen Übersetzungen gibt, die dem Originaltext nicht treu sind, sind Übersetzungen, die subjektiv gesehen dem Originaltext "untreu" sind, konzeptionell widersprüchlich. Der Übersetzer kann seine eigenen Grenzen nicht überschreiten, aber subjektiv kann er nicht "vorziehen" oder sich dafür entscheiden, "dreißig Prozent" originalgetreu zu sein. Sobald das subjektive Streben nach Originaltreue aufgegeben wird, gibt es für den Übersetzer keinen Grund mehr, bei "dreißig Prozent" stehen zu bleiben und sich auf zehn, fünf oder noch weniger Prozent zu bewegen. Das Streben nach Originaltreue ist also das Bindeglied zwischen dem Original und der Übersetzung, und sobald dieses Bindeglied durchtrennt ist, kann die Übersetzung nicht mehr als Übersetzung bezeichnet werden, ganz gleich, welchen anderen "'guten' Zweck" sie "erfüllt", und die Übersetzung wird natürlich aufhören zu existieren. Auf diese Weise muss die Bedeutung der "Werktreue" als subjektive Geste festgestellt werden. Das bedeutet jedoch nicht, dass der Widerspruch aufgelöst werden kann. Im Gegenteil, es bringt uns nur zum Ausgangspunkt des Widerspruchs zurück: dem Gegensatz zwischen "Werktreue" als objektivem Kriterium (Schritt 1) und "Werktreue" als subjektiver Geste (Schritt 2). Die Frage, wie man eine Einheit zwischen beiden erreichen oder zu erreichen versuchen kann, ist eines der zentralen Probleme, mit denen sich die Übersetzungstheorie befassen muss, und es ist immer schwieriger, als man denkt, trotz aller Bemühungen, die in diese Richtung unternommen wurden. In gewisser Weise ist dieses Problem mit dem Stein vergleichbar, den Sisyphos in der griechischen Mythologie nie auf den Gipfel des Berges schieben konnte und der einen ständigen Druck auf den Geist ausübt. Aus dieser Perspektive erscheint die Ablehnung des Kriteriums der "Werktreue" als tragischer Versuch, den Widerspruch zu umgehen, indem man sich von ihm zurückzieht und so dem Druck entgeht und völlige Freiheit erreicht. Es ist "tragisch", weil durch die Aufgabe der "Originaltreue" die Grundlagen der Übersetzungsdisziplin erschüttert werden und die Befürworter selbst an "Aphasie" leiden werden: jede Kritik an der Übersetzung wird ihre Spezifität verlieren. Jegliche Übersetzungskritik wird ihre Besonderheit verlieren und sich nicht mehr von der Hermeneutik, dem Kreationismus oder einer anderen Theorie unterscheiden können.

= = = = = =
Bla, bla, bla

= = = Conclusion = = =
Bla, bla, bla
= = = References = = =

Finals Trans 3

2022-12-28T15:18:27Z

Liu Ziwei: /* = = 关键词 = = */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

==Abstract ==
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==
Künstlerisch, wissenschaftlich und textgetreu
===题目===
“艺术”论与“科学”论在翻译实践中的统一

===摘要===
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

=== 关键词 ===

艺术论科学论忠于原文

= = = Introduction = = =
Die Entwicklung der Linguistik legte den Grundstein für die Scientology, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Die Entwicklung der Linguistik lieferte die Grundlage für die wissenschaftliche Theorie, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Trotzdem, Die Interpretation der Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich grundlegend von dem, was oft als literarische Schule bezeichnet wird Die Interpretation von Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich jedoch grundlegend von der Auffassung der so genannten literarischen Schule. Hier ist die Kunst nicht durch die Natur der Übersetzung vorgeschrieben, sondern als Ergänzung zur Wissenschaft. sondern vielmehr als Ergänzung oder Ersatz für die Wissenschaft. Wissenschaft Die Wissenschaft braucht einen festen Boden, und wenn sie Treibsand unter ihren Füßen findet Wenn man Treibsand unter den Füßen hat, muss man auf die Flügel der Phantasie zurückgreifen, auf denen die Kunst frei fliegen kann. Aber, Mit dem Eintreten der Kunst kam es jedoch zu einem neuen und komplexeren Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft. Der Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft.

=== Die Widersprüche der "Werktreue" in der tatsächlichen Übersetzung===
Das Ziel der "Originaltreue" ist eine natürliche Anforderung an Übersetzer und steht seit Jahrhunderten im Mittelpunkt der Übersetzungstheorie und -praxis. In letzter Zeit scheint es jedoch eine gewisse Skepsis und sogar Leugnung zu geben. Lefebvre sagt: "Die Treue zum Original ist nur eine von vielen Übersetzungsstrategien, das Produkt einer Kombination aus einer bestimmten Ideologie und einer bestimmten Auffassung von Literatur. Sie als einzig mögliche oder gar einzig zulässige Strategie darzustellen, ist unpraktisch und sinnlos".
Das in unserem Land vorherrschende Kriterium stellt die "Werktreue" in den Vordergrund, aber selten wird die Frage nach dem "Warum" gestellt. Warum muss eine Übersetzung (so weit wie möglich) versuchen, dem Original treu zu bleiben? Was ist, wenn der Übersetzer eine andere Agenda, eine andere Präferenz hat? Was ist, wenn die gesellschaftliche Realität das Streben nach größtmöglicher Originaltreue nicht zulässt oder nicht begünstigt? Ist eine Übersetzung, die nicht ganz originalgetreu ist, zwangsläufig schädlich? Was ist, wenn eine Übersetzung, die nicht originalgetreu ist, ihr Ziel erreicht, selbst eine "gute" Übersetzung? Aber warum sollten die Menschen gezwungen sein, zwischen zwei Extremen zu wählen - 100 % Originaltreue auf der einen Seite und Null-Treue auf der anderen? Warum kann ein Übersetzer nicht entscheiden, ob er sich zu 70, 50 oder 30 Prozent an das Original halten will?
Wenn wir an den Anfang zurückgehen, an den ursprünglichen Zweck der Übersetzungstätigkeit, erscheint die Frage sehr einfach. Die Übersetzung ist aus dem Bedürfnis nach kulturellem Austausch entstanden. In dieser Hinsicht ist es vergleichbar mit der Einführung westlicher Malerei oder westlicher Musik im eigenen Land oder, im Gegensatz dazu, mit der Einführung chinesischer Malerei oder chinesischer Volksmusik im Ausland. Unabhängig von den anderen Zielen solcher Einführungen sind sie in einem primären und grundlegenden Ziel identisch: das Originalwerk so darzustellen, wie es von der Zielkultur rezipiert werden sollte. Wenn es absurd wäre, bei der Präsentation eines Gemäldes oder einer Musikkomposition die Farben, Linien oder Melodien eines Originalwerks zu verändern, dann würde die ideale Übersetzung keine willkürliche Veränderung des Originalwerks zulassen. An dieser Stelle ist absolute Originaltreue gefragt, und wir haben nicht die Wahl zwischen "70, 50 oder 30 Prozent".
Es ist klar, dass "Originaltreue" gleichbedeutend ist mit "objektiver Wahrhaftigkeit": "Originaltreue" impliziert die vollständige und unverfälschte Wiedergabe eines existierenden Objekts. Es ist aber auch klar, dass wir die Analogie zwischen der Übersetzung und der Präsentation von Bildern und Musik nicht aufrechterhalten können. Der Hauptgrund dafür liegt in dem unterschiedlichen Medium, das von den beiden verwendet wird. Herr Qian Zhongshu wies vor langer Zeit darauf hin, dass "wir unterscheiden sollten, dass, wenn das Medium der Malerei die Farbe und die Linie ist und das Medium der Musik der Ton ist, das Medium der Poesie nicht die Worte, sondern die Worte und die Bedeutung der Worte ist; wenn wir die Worte selbst als das Medium der Literatur nehmen und die Bedeutung der Ideen außer Acht lassen, dann wird ein Gedicht von der Form der Worte her als nichts als Tintenflecken erscheinen, und vom Klang der Worte her wird es wie nichts als Der Unterschied im Medium führt zu einem weiteren Problem. Dieser Unterschied des Mediums führt zu einem weiteren außerordentlich wichtigen Unterschied, der in der Übersetzungstheorie seit langem diskutiert wird: Die Darstellung eines Gemäldes oder eines Musikstücks kann in zwei Schritte unterteilt werden: zunächst die Wiedergabe des Originals, eines rein objektiven, physischen Phänomens (ein rein wissenschaftlicher Prozess, unabhängig davon, ob es verzerrt ist oder nicht), und dann die Interpretation der verschiedenen Bedeutungen, die das Werk haben kann; während bei der Übersetzung aufgrund der Besonderheit der sprachlichen In diesem alternativen Schritt konzentriert sich das gesamte Übersetzungsproblem, und es entstehen Zweifel an der Möglichkeit einer objektiven Originaltreue. Da die Interpretation unweigerlich von sozialen, historischen und vor allem subjektiven Faktoren auf Seiten des Übersetzers beeinflusst wird, wird argumentiert, dass die Anerkennung der Übersetzung als Interpretation gleichbedeutend mit der Anerkennung der Legitimität der subjektiven Entscheidung des Übersetzers ist. Die "Werktreue" wird so zu einem sehr subjektiven Konzept, das aufgrund des Fehlens einer objektiven Definition oder von Kriterien nicht praktikabel ist. Und wenn die Umfrage zeigt, dass die Übersetzungspraxis in der Vergangenheit nicht wirklich geschätzt oder erreicht wurde, bedeutet dies, dass sie in Wirklichkeit nicht existiert. Warum sollte man sich an eine Norm klammern, die in Wirklichkeit gar nicht existiert? Dies würde nur in eine "Sackgasse" führen.
Das Kriterium der "Originaltreue" bei der Übersetzung ist jedoch nicht so einfach von der Hand zu weisen. Wie in jeder anderen Disziplin auch, darf man die Bemühungen in dieser Richtung nicht aufgeben, nur weil man keine hundertprozentige Wahrheit erreichen kann. In der Praxis kann es vorkommen, dass ein gewisses Maß an "Originaltreue" geopfert wird, aber dies geschieht oft, um sicherzustellen, dass der größere Teil der "Originaltreue" erreicht wird, und zwar im Interesse einer "maximalen" Treue. Treue zum Original. Während es objektiv gesehen Übersetzungen gibt, die dem Originaltext nicht treu sind, sind Übersetzungen, die subjektiv gesehen dem Originaltext "untreu" sind, konzeptionell widersprüchlich. Der Übersetzer kann seine eigenen Grenzen nicht überschreiten, aber subjektiv kann er nicht "vorziehen" oder sich dafür entscheiden, "dreißig Prozent" originalgetreu zu sein. Sobald das subjektive Streben nach Originaltreue aufgegeben wird, gibt es für den Übersetzer keinen Grund mehr, bei "dreißig Prozent" stehen zu bleiben und sich auf zehn, fünf oder noch weniger Prozent zu bewegen. Das Streben nach Originaltreue ist also das Bindeglied zwischen dem Original und der Übersetzung, und sobald dieses Bindeglied durchtrennt ist, kann die Übersetzung nicht mehr als Übersetzung bezeichnet werden, ganz gleich, welchen anderen "'guten' Zweck" sie "erfüllt", und die Übersetzung wird natürlich aufhören zu existieren. Auf diese Weise muss die Bedeutung der "Werktreue" als subjektive Geste festgestellt werden. Das bedeutet jedoch nicht, dass der Widerspruch aufgelöst werden kann. Im Gegenteil, es bringt uns nur zum Ausgangspunkt des Widerspruchs zurück: dem Gegensatz zwischen "Werktreue" als objektivem Kriterium (Schritt 1) und "Werktreue" als subjektiver Geste (Schritt 2). Die Frage, wie man eine Einheit zwischen beiden erreichen oder zu erreichen versuchen kann, ist eines der zentralen Probleme, mit denen sich die Übersetzungstheorie befassen muss, und es ist immer schwieriger, als man denkt, trotz aller Bemühungen, die in diese Richtung unternommen wurden. In gewisser Weise ist dieses Problem mit dem Stein vergleichbar, den Sisyphos in der griechischen Mythologie nie auf den Gipfel des Berges schieben konnte und der einen ständigen Druck auf den Geist ausübt. Aus dieser Perspektive erscheint die Ablehnung des Kriteriums der "Werktreue" als tragischer Versuch, den Widerspruch zu umgehen, indem man sich von ihm zurückzieht und so dem Druck entgeht und völlige Freiheit erreicht. Es ist "tragisch", weil durch die Aufgabe der "Originaltreue" die Grundlagen der Übersetzungsdisziplin erschüttert werden und die Befürworter selbst an "Aphasie" leiden werden: jede Kritik an der Übersetzung wird ihre Spezifität verlieren. Jegliche Übersetzungskritik wird ihre Besonderheit verlieren und sich nicht mehr von der Hermeneutik, dem Kreationismus oder einer anderen Theorie unterscheiden können.

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= = = Conclusion = = =
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= = = References = = =

Finals Trans 3

2022-12-28T15:17:44Z

Liu Ziwei: /* = = 摘要 = = */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

==Abstract ==
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==
Künstlerisch, wissenschaftlich und textgetreu
===题目===
“艺术”论与“科学”论在翻译实践中的统一

===摘要===
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

= = = 关键词 = = =
艺术论科学论忠于原文

= = = Introduction = = =
Die Entwicklung der Linguistik legte den Grundstein für die Scientology, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Die Entwicklung der Linguistik lieferte die Grundlage für die wissenschaftliche Theorie, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Trotzdem, Die Interpretation der Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich grundlegend von dem, was oft als literarische Schule bezeichnet wird Die Interpretation von Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich jedoch grundlegend von der Auffassung der so genannten literarischen Schule. Hier ist die Kunst nicht durch die Natur der Übersetzung vorgeschrieben, sondern als Ergänzung zur Wissenschaft. sondern vielmehr als Ergänzung oder Ersatz für die Wissenschaft. Wissenschaft Die Wissenschaft braucht einen festen Boden, und wenn sie Treibsand unter ihren Füßen findet Wenn man Treibsand unter den Füßen hat, muss man auf die Flügel der Phantasie zurückgreifen, auf denen die Kunst frei fliegen kann. Aber, Mit dem Eintreten der Kunst kam es jedoch zu einem neuen und komplexeren Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft. Der Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft.

=== Die Widersprüche der "Werktreue" in der tatsächlichen Übersetzung===
Das Ziel der "Originaltreue" ist eine natürliche Anforderung an Übersetzer und steht seit Jahrhunderten im Mittelpunkt der Übersetzungstheorie und -praxis. In letzter Zeit scheint es jedoch eine gewisse Skepsis und sogar Leugnung zu geben. Lefebvre sagt: "Die Treue zum Original ist nur eine von vielen Übersetzungsstrategien, das Produkt einer Kombination aus einer bestimmten Ideologie und einer bestimmten Auffassung von Literatur. Sie als einzig mögliche oder gar einzig zulässige Strategie darzustellen, ist unpraktisch und sinnlos".
Das in unserem Land vorherrschende Kriterium stellt die "Werktreue" in den Vordergrund, aber selten wird die Frage nach dem "Warum" gestellt. Warum muss eine Übersetzung (so weit wie möglich) versuchen, dem Original treu zu bleiben? Was ist, wenn der Übersetzer eine andere Agenda, eine andere Präferenz hat? Was ist, wenn die gesellschaftliche Realität das Streben nach größtmöglicher Originaltreue nicht zulässt oder nicht begünstigt? Ist eine Übersetzung, die nicht ganz originalgetreu ist, zwangsläufig schädlich? Was ist, wenn eine Übersetzung, die nicht originalgetreu ist, ihr Ziel erreicht, selbst eine "gute" Übersetzung? Aber warum sollten die Menschen gezwungen sein, zwischen zwei Extremen zu wählen - 100 % Originaltreue auf der einen Seite und Null-Treue auf der anderen? Warum kann ein Übersetzer nicht entscheiden, ob er sich zu 70, 50 oder 30 Prozent an das Original halten will?
Wenn wir an den Anfang zurückgehen, an den ursprünglichen Zweck der Übersetzungstätigkeit, erscheint die Frage sehr einfach. Die Übersetzung ist aus dem Bedürfnis nach kulturellem Austausch entstanden. In dieser Hinsicht ist es vergleichbar mit der Einführung westlicher Malerei oder westlicher Musik im eigenen Land oder, im Gegensatz dazu, mit der Einführung chinesischer Malerei oder chinesischer Volksmusik im Ausland. Unabhängig von den anderen Zielen solcher Einführungen sind sie in einem primären und grundlegenden Ziel identisch: das Originalwerk so darzustellen, wie es von der Zielkultur rezipiert werden sollte. Wenn es absurd wäre, bei der Präsentation eines Gemäldes oder einer Musikkomposition die Farben, Linien oder Melodien eines Originalwerks zu verändern, dann würde die ideale Übersetzung keine willkürliche Veränderung des Originalwerks zulassen. An dieser Stelle ist absolute Originaltreue gefragt, und wir haben nicht die Wahl zwischen "70, 50 oder 30 Prozent".
Es ist klar, dass "Originaltreue" gleichbedeutend ist mit "objektiver Wahrhaftigkeit": "Originaltreue" impliziert die vollständige und unverfälschte Wiedergabe eines existierenden Objekts. Es ist aber auch klar, dass wir die Analogie zwischen der Übersetzung und der Präsentation von Bildern und Musik nicht aufrechterhalten können. Der Hauptgrund dafür liegt in dem unterschiedlichen Medium, das von den beiden verwendet wird. Herr Qian Zhongshu wies vor langer Zeit darauf hin, dass "wir unterscheiden sollten, dass, wenn das Medium der Malerei die Farbe und die Linie ist und das Medium der Musik der Ton ist, das Medium der Poesie nicht die Worte, sondern die Worte und die Bedeutung der Worte ist; wenn wir die Worte selbst als das Medium der Literatur nehmen und die Bedeutung der Ideen außer Acht lassen, dann wird ein Gedicht von der Form der Worte her als nichts als Tintenflecken erscheinen, und vom Klang der Worte her wird es wie nichts als Der Unterschied im Medium führt zu einem weiteren Problem. Dieser Unterschied des Mediums führt zu einem weiteren außerordentlich wichtigen Unterschied, der in der Übersetzungstheorie seit langem diskutiert wird: Die Darstellung eines Gemäldes oder eines Musikstücks kann in zwei Schritte unterteilt werden: zunächst die Wiedergabe des Originals, eines rein objektiven, physischen Phänomens (ein rein wissenschaftlicher Prozess, unabhängig davon, ob es verzerrt ist oder nicht), und dann die Interpretation der verschiedenen Bedeutungen, die das Werk haben kann; während bei der Übersetzung aufgrund der Besonderheit der sprachlichen In diesem alternativen Schritt konzentriert sich das gesamte Übersetzungsproblem, und es entstehen Zweifel an der Möglichkeit einer objektiven Originaltreue. Da die Interpretation unweigerlich von sozialen, historischen und vor allem subjektiven Faktoren auf Seiten des Übersetzers beeinflusst wird, wird argumentiert, dass die Anerkennung der Übersetzung als Interpretation gleichbedeutend mit der Anerkennung der Legitimität der subjektiven Entscheidung des Übersetzers ist. Die "Werktreue" wird so zu einem sehr subjektiven Konzept, das aufgrund des Fehlens einer objektiven Definition oder von Kriterien nicht praktikabel ist. Und wenn die Umfrage zeigt, dass die Übersetzungspraxis in der Vergangenheit nicht wirklich geschätzt oder erreicht wurde, bedeutet dies, dass sie in Wirklichkeit nicht existiert. Warum sollte man sich an eine Norm klammern, die in Wirklichkeit gar nicht existiert? Dies würde nur in eine "Sackgasse" führen.
Das Kriterium der "Originaltreue" bei der Übersetzung ist jedoch nicht so einfach von der Hand zu weisen. Wie in jeder anderen Disziplin auch, darf man die Bemühungen in dieser Richtung nicht aufgeben, nur weil man keine hundertprozentige Wahrheit erreichen kann. In der Praxis kann es vorkommen, dass ein gewisses Maß an "Originaltreue" geopfert wird, aber dies geschieht oft, um sicherzustellen, dass der größere Teil der "Originaltreue" erreicht wird, und zwar im Interesse einer "maximalen" Treue. Treue zum Original. Während es objektiv gesehen Übersetzungen gibt, die dem Originaltext nicht treu sind, sind Übersetzungen, die subjektiv gesehen dem Originaltext "untreu" sind, konzeptionell widersprüchlich. Der Übersetzer kann seine eigenen Grenzen nicht überschreiten, aber subjektiv kann er nicht "vorziehen" oder sich dafür entscheiden, "dreißig Prozent" originalgetreu zu sein. Sobald das subjektive Streben nach Originaltreue aufgegeben wird, gibt es für den Übersetzer keinen Grund mehr, bei "dreißig Prozent" stehen zu bleiben und sich auf zehn, fünf oder noch weniger Prozent zu bewegen. Das Streben nach Originaltreue ist also das Bindeglied zwischen dem Original und der Übersetzung, und sobald dieses Bindeglied durchtrennt ist, kann die Übersetzung nicht mehr als Übersetzung bezeichnet werden, ganz gleich, welchen anderen "'guten' Zweck" sie "erfüllt", und die Übersetzung wird natürlich aufhören zu existieren. Auf diese Weise muss die Bedeutung der "Werktreue" als subjektive Geste festgestellt werden. Das bedeutet jedoch nicht, dass der Widerspruch aufgelöst werden kann. Im Gegenteil, es bringt uns nur zum Ausgangspunkt des Widerspruchs zurück: dem Gegensatz zwischen "Werktreue" als objektivem Kriterium (Schritt 1) und "Werktreue" als subjektiver Geste (Schritt 2). Die Frage, wie man eine Einheit zwischen beiden erreichen oder zu erreichen versuchen kann, ist eines der zentralen Probleme, mit denen sich die Übersetzungstheorie befassen muss, und es ist immer schwieriger, als man denkt, trotz aller Bemühungen, die in diese Richtung unternommen wurden. In gewisser Weise ist dieses Problem mit dem Stein vergleichbar, den Sisyphos in der griechischen Mythologie nie auf den Gipfel des Berges schieben konnte und der einen ständigen Druck auf den Geist ausübt. Aus dieser Perspektive erscheint die Ablehnung des Kriteriums der "Werktreue" als tragischer Versuch, den Widerspruch zu umgehen, indem man sich von ihm zurückzieht und so dem Druck entgeht und völlige Freiheit erreicht. Es ist "tragisch", weil durch die Aufgabe der "Originaltreue" die Grundlagen der Übersetzungsdisziplin erschüttert werden und die Befürworter selbst an "Aphasie" leiden werden: jede Kritik an der Übersetzung wird ihre Spezifität verlieren. Jegliche Übersetzungskritik wird ihre Besonderheit verlieren und sich nicht mehr von der Hermeneutik, dem Kreationismus oder einer anderen Theorie unterscheiden können.

= = = = = =
Bla, bla, bla

= = = Conclusion = = =
Bla, bla, bla
= = = References = = =

Finals Trans 3

2022-12-28T15:17:15Z

Liu Ziwei: /* = = Abstract = = */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

==Abstract ==
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==
Künstlerisch, wissenschaftlich und textgetreu
===题目===
“艺术”论与“科学”论在翻译实践中的统一

= = = 摘要 = = =
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

= = = 关键词 = = =
艺术论科学论忠于原文

= = = Introduction = = =
Die Entwicklung der Linguistik legte den Grundstein für die Scientology, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Die Entwicklung der Linguistik lieferte die Grundlage für die wissenschaftliche Theorie, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Trotzdem, Die Interpretation der Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich grundlegend von dem, was oft als literarische Schule bezeichnet wird Die Interpretation von Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich jedoch grundlegend von der Auffassung der so genannten literarischen Schule. Hier ist die Kunst nicht durch die Natur der Übersetzung vorgeschrieben, sondern als Ergänzung zur Wissenschaft. sondern vielmehr als Ergänzung oder Ersatz für die Wissenschaft. Wissenschaft Die Wissenschaft braucht einen festen Boden, und wenn sie Treibsand unter ihren Füßen findet Wenn man Treibsand unter den Füßen hat, muss man auf die Flügel der Phantasie zurückgreifen, auf denen die Kunst frei fliegen kann. Aber, Mit dem Eintreten der Kunst kam es jedoch zu einem neuen und komplexeren Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft. Der Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft.

=== Die Widersprüche der "Werktreue" in der tatsächlichen Übersetzung===
Das Ziel der "Originaltreue" ist eine natürliche Anforderung an Übersetzer und steht seit Jahrhunderten im Mittelpunkt der Übersetzungstheorie und -praxis. In letzter Zeit scheint es jedoch eine gewisse Skepsis und sogar Leugnung zu geben. Lefebvre sagt: "Die Treue zum Original ist nur eine von vielen Übersetzungsstrategien, das Produkt einer Kombination aus einer bestimmten Ideologie und einer bestimmten Auffassung von Literatur. Sie als einzig mögliche oder gar einzig zulässige Strategie darzustellen, ist unpraktisch und sinnlos".
Das in unserem Land vorherrschende Kriterium stellt die "Werktreue" in den Vordergrund, aber selten wird die Frage nach dem "Warum" gestellt. Warum muss eine Übersetzung (so weit wie möglich) versuchen, dem Original treu zu bleiben? Was ist, wenn der Übersetzer eine andere Agenda, eine andere Präferenz hat? Was ist, wenn die gesellschaftliche Realität das Streben nach größtmöglicher Originaltreue nicht zulässt oder nicht begünstigt? Ist eine Übersetzung, die nicht ganz originalgetreu ist, zwangsläufig schädlich? Was ist, wenn eine Übersetzung, die nicht originalgetreu ist, ihr Ziel erreicht, selbst eine "gute" Übersetzung? Aber warum sollten die Menschen gezwungen sein, zwischen zwei Extremen zu wählen - 100 % Originaltreue auf der einen Seite und Null-Treue auf der anderen? Warum kann ein Übersetzer nicht entscheiden, ob er sich zu 70, 50 oder 30 Prozent an das Original halten will?
Wenn wir an den Anfang zurückgehen, an den ursprünglichen Zweck der Übersetzungstätigkeit, erscheint die Frage sehr einfach. Die Übersetzung ist aus dem Bedürfnis nach kulturellem Austausch entstanden. In dieser Hinsicht ist es vergleichbar mit der Einführung westlicher Malerei oder westlicher Musik im eigenen Land oder, im Gegensatz dazu, mit der Einführung chinesischer Malerei oder chinesischer Volksmusik im Ausland. Unabhängig von den anderen Zielen solcher Einführungen sind sie in einem primären und grundlegenden Ziel identisch: das Originalwerk so darzustellen, wie es von der Zielkultur rezipiert werden sollte. Wenn es absurd wäre, bei der Präsentation eines Gemäldes oder einer Musikkomposition die Farben, Linien oder Melodien eines Originalwerks zu verändern, dann würde die ideale Übersetzung keine willkürliche Veränderung des Originalwerks zulassen. An dieser Stelle ist absolute Originaltreue gefragt, und wir haben nicht die Wahl zwischen "70, 50 oder 30 Prozent".
Es ist klar, dass "Originaltreue" gleichbedeutend ist mit "objektiver Wahrhaftigkeit": "Originaltreue" impliziert die vollständige und unverfälschte Wiedergabe eines existierenden Objekts. Es ist aber auch klar, dass wir die Analogie zwischen der Übersetzung und der Präsentation von Bildern und Musik nicht aufrechterhalten können. Der Hauptgrund dafür liegt in dem unterschiedlichen Medium, das von den beiden verwendet wird. Herr Qian Zhongshu wies vor langer Zeit darauf hin, dass "wir unterscheiden sollten, dass, wenn das Medium der Malerei die Farbe und die Linie ist und das Medium der Musik der Ton ist, das Medium der Poesie nicht die Worte, sondern die Worte und die Bedeutung der Worte ist; wenn wir die Worte selbst als das Medium der Literatur nehmen und die Bedeutung der Ideen außer Acht lassen, dann wird ein Gedicht von der Form der Worte her als nichts als Tintenflecken erscheinen, und vom Klang der Worte her wird es wie nichts als Der Unterschied im Medium führt zu einem weiteren Problem. Dieser Unterschied des Mediums führt zu einem weiteren außerordentlich wichtigen Unterschied, der in der Übersetzungstheorie seit langem diskutiert wird: Die Darstellung eines Gemäldes oder eines Musikstücks kann in zwei Schritte unterteilt werden: zunächst die Wiedergabe des Originals, eines rein objektiven, physischen Phänomens (ein rein wissenschaftlicher Prozess, unabhängig davon, ob es verzerrt ist oder nicht), und dann die Interpretation der verschiedenen Bedeutungen, die das Werk haben kann; während bei der Übersetzung aufgrund der Besonderheit der sprachlichen In diesem alternativen Schritt konzentriert sich das gesamte Übersetzungsproblem, und es entstehen Zweifel an der Möglichkeit einer objektiven Originaltreue. Da die Interpretation unweigerlich von sozialen, historischen und vor allem subjektiven Faktoren auf Seiten des Übersetzers beeinflusst wird, wird argumentiert, dass die Anerkennung der Übersetzung als Interpretation gleichbedeutend mit der Anerkennung der Legitimität der subjektiven Entscheidung des Übersetzers ist. Die "Werktreue" wird so zu einem sehr subjektiven Konzept, das aufgrund des Fehlens einer objektiven Definition oder von Kriterien nicht praktikabel ist. Und wenn die Umfrage zeigt, dass die Übersetzungspraxis in der Vergangenheit nicht wirklich geschätzt oder erreicht wurde, bedeutet dies, dass sie in Wirklichkeit nicht existiert. Warum sollte man sich an eine Norm klammern, die in Wirklichkeit gar nicht existiert? Dies würde nur in eine "Sackgasse" führen.
Das Kriterium der "Originaltreue" bei der Übersetzung ist jedoch nicht so einfach von der Hand zu weisen. Wie in jeder anderen Disziplin auch, darf man die Bemühungen in dieser Richtung nicht aufgeben, nur weil man keine hundertprozentige Wahrheit erreichen kann. In der Praxis kann es vorkommen, dass ein gewisses Maß an "Originaltreue" geopfert wird, aber dies geschieht oft, um sicherzustellen, dass der größere Teil der "Originaltreue" erreicht wird, und zwar im Interesse einer "maximalen" Treue. Treue zum Original. Während es objektiv gesehen Übersetzungen gibt, die dem Originaltext nicht treu sind, sind Übersetzungen, die subjektiv gesehen dem Originaltext "untreu" sind, konzeptionell widersprüchlich. Der Übersetzer kann seine eigenen Grenzen nicht überschreiten, aber subjektiv kann er nicht "vorziehen" oder sich dafür entscheiden, "dreißig Prozent" originalgetreu zu sein. Sobald das subjektive Streben nach Originaltreue aufgegeben wird, gibt es für den Übersetzer keinen Grund mehr, bei "dreißig Prozent" stehen zu bleiben und sich auf zehn, fünf oder noch weniger Prozent zu bewegen. Das Streben nach Originaltreue ist also das Bindeglied zwischen dem Original und der Übersetzung, und sobald dieses Bindeglied durchtrennt ist, kann die Übersetzung nicht mehr als Übersetzung bezeichnet werden, ganz gleich, welchen anderen "'guten' Zweck" sie "erfüllt", und die Übersetzung wird natürlich aufhören zu existieren. Auf diese Weise muss die Bedeutung der "Werktreue" als subjektive Geste festgestellt werden. Das bedeutet jedoch nicht, dass der Widerspruch aufgelöst werden kann. Im Gegenteil, es bringt uns nur zum Ausgangspunkt des Widerspruchs zurück: dem Gegensatz zwischen "Werktreue" als objektivem Kriterium (Schritt 1) und "Werktreue" als subjektiver Geste (Schritt 2). Die Frage, wie man eine Einheit zwischen beiden erreichen oder zu erreichen versuchen kann, ist eines der zentralen Probleme, mit denen sich die Übersetzungstheorie befassen muss, und es ist immer schwieriger, als man denkt, trotz aller Bemühungen, die in diese Richtung unternommen wurden. In gewisser Weise ist dieses Problem mit dem Stein vergleichbar, den Sisyphos in der griechischen Mythologie nie auf den Gipfel des Berges schieben konnte und der einen ständigen Druck auf den Geist ausübt. Aus dieser Perspektive erscheint die Ablehnung des Kriteriums der "Werktreue" als tragischer Versuch, den Widerspruch zu umgehen, indem man sich von ihm zurückzieht und so dem Druck entgeht und völlige Freiheit erreicht. Es ist "tragisch", weil durch die Aufgabe der "Originaltreue" die Grundlagen der Übersetzungsdisziplin erschüttert werden und die Befürworter selbst an "Aphasie" leiden werden: jede Kritik an der Übersetzung wird ihre Spezifität verlieren. Jegliche Übersetzungskritik wird ihre Besonderheit verlieren und sich nicht mehr von der Hermeneutik, dem Kreationismus oder einer anderen Theorie unterscheiden können.

= = = = = =
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= = = Conclusion = = =
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= = = References = = =

Finals Trans 3

2022-12-28T15:15:54Z

Liu Ziwei: /* = = Introduction = = */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

= = = Abstract = = =
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==
Künstlerisch, wissenschaftlich und textgetreu
===题目===
“艺术”论与“科学”论在翻译实践中的统一

= = = 摘要 = = =
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

= = = 关键词 = = =
艺术论科学论忠于原文

= = = Introduction = = =
Die Entwicklung der Linguistik legte den Grundstein für die Scientology, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Die Entwicklung der Linguistik lieferte die Grundlage für die wissenschaftliche Theorie, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Trotzdem, Die Interpretation der Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich grundlegend von dem, was oft als literarische Schule bezeichnet wird Die Interpretation von Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich jedoch grundlegend von der Auffassung der so genannten literarischen Schule. Hier ist die Kunst nicht durch die Natur der Übersetzung vorgeschrieben, sondern als Ergänzung zur Wissenschaft. sondern vielmehr als Ergänzung oder Ersatz für die Wissenschaft. Wissenschaft Die Wissenschaft braucht einen festen Boden, und wenn sie Treibsand unter ihren Füßen findet Wenn man Treibsand unter den Füßen hat, muss man auf die Flügel der Phantasie zurückgreifen, auf denen die Kunst frei fliegen kann. Aber, Mit dem Eintreten der Kunst kam es jedoch zu einem neuen und komplexeren Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft. Der Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft.

=== Die Widersprüche der "Werktreue" in der tatsächlichen Übersetzung===
Das Ziel der "Originaltreue" ist eine natürliche Anforderung an Übersetzer und steht seit Jahrhunderten im Mittelpunkt der Übersetzungstheorie und -praxis. In letzter Zeit scheint es jedoch eine gewisse Skepsis und sogar Leugnung zu geben. Lefebvre sagt: "Die Treue zum Original ist nur eine von vielen Übersetzungsstrategien, das Produkt einer Kombination aus einer bestimmten Ideologie und einer bestimmten Auffassung von Literatur. Sie als einzig mögliche oder gar einzig zulässige Strategie darzustellen, ist unpraktisch und sinnlos".
Das in unserem Land vorherrschende Kriterium stellt die "Werktreue" in den Vordergrund, aber selten wird die Frage nach dem "Warum" gestellt. Warum muss eine Übersetzung (so weit wie möglich) versuchen, dem Original treu zu bleiben? Was ist, wenn der Übersetzer eine andere Agenda, eine andere Präferenz hat? Was ist, wenn die gesellschaftliche Realität das Streben nach größtmöglicher Originaltreue nicht zulässt oder nicht begünstigt? Ist eine Übersetzung, die nicht ganz originalgetreu ist, zwangsläufig schädlich? Was ist, wenn eine Übersetzung, die nicht originalgetreu ist, ihr Ziel erreicht, selbst eine "gute" Übersetzung? Aber warum sollten die Menschen gezwungen sein, zwischen zwei Extremen zu wählen - 100 % Originaltreue auf der einen Seite und Null-Treue auf der anderen? Warum kann ein Übersetzer nicht entscheiden, ob er sich zu 70, 50 oder 30 Prozent an das Original halten will?
Wenn wir an den Anfang zurückgehen, an den ursprünglichen Zweck der Übersetzungstätigkeit, erscheint die Frage sehr einfach. Die Übersetzung ist aus dem Bedürfnis nach kulturellem Austausch entstanden. In dieser Hinsicht ist es vergleichbar mit der Einführung westlicher Malerei oder westlicher Musik im eigenen Land oder, im Gegensatz dazu, mit der Einführung chinesischer Malerei oder chinesischer Volksmusik im Ausland. Unabhängig von den anderen Zielen solcher Einführungen sind sie in einem primären und grundlegenden Ziel identisch: das Originalwerk so darzustellen, wie es von der Zielkultur rezipiert werden sollte. Wenn es absurd wäre, bei der Präsentation eines Gemäldes oder einer Musikkomposition die Farben, Linien oder Melodien eines Originalwerks zu verändern, dann würde die ideale Übersetzung keine willkürliche Veränderung des Originalwerks zulassen. An dieser Stelle ist absolute Originaltreue gefragt, und wir haben nicht die Wahl zwischen "70, 50 oder 30 Prozent".
Es ist klar, dass "Originaltreue" gleichbedeutend ist mit "objektiver Wahrhaftigkeit": "Originaltreue" impliziert die vollständige und unverfälschte Wiedergabe eines existierenden Objekts. Es ist aber auch klar, dass wir die Analogie zwischen der Übersetzung und der Präsentation von Bildern und Musik nicht aufrechterhalten können. Der Hauptgrund dafür liegt in dem unterschiedlichen Medium, das von den beiden verwendet wird. Herr Qian Zhongshu wies vor langer Zeit darauf hin, dass "wir unterscheiden sollten, dass, wenn das Medium der Malerei die Farbe und die Linie ist und das Medium der Musik der Ton ist, das Medium der Poesie nicht die Worte, sondern die Worte und die Bedeutung der Worte ist; wenn wir die Worte selbst als das Medium der Literatur nehmen und die Bedeutung der Ideen außer Acht lassen, dann wird ein Gedicht von der Form der Worte her als nichts als Tintenflecken erscheinen, und vom Klang der Worte her wird es wie nichts als Der Unterschied im Medium führt zu einem weiteren Problem. Dieser Unterschied des Mediums führt zu einem weiteren außerordentlich wichtigen Unterschied, der in der Übersetzungstheorie seit langem diskutiert wird: Die Darstellung eines Gemäldes oder eines Musikstücks kann in zwei Schritte unterteilt werden: zunächst die Wiedergabe des Originals, eines rein objektiven, physischen Phänomens (ein rein wissenschaftlicher Prozess, unabhängig davon, ob es verzerrt ist oder nicht), und dann die Interpretation der verschiedenen Bedeutungen, die das Werk haben kann; während bei der Übersetzung aufgrund der Besonderheit der sprachlichen In diesem alternativen Schritt konzentriert sich das gesamte Übersetzungsproblem, und es entstehen Zweifel an der Möglichkeit einer objektiven Originaltreue. Da die Interpretation unweigerlich von sozialen, historischen und vor allem subjektiven Faktoren auf Seiten des Übersetzers beeinflusst wird, wird argumentiert, dass die Anerkennung der Übersetzung als Interpretation gleichbedeutend mit der Anerkennung der Legitimität der subjektiven Entscheidung des Übersetzers ist. Die "Werktreue" wird so zu einem sehr subjektiven Konzept, das aufgrund des Fehlens einer objektiven Definition oder von Kriterien nicht praktikabel ist. Und wenn die Umfrage zeigt, dass die Übersetzungspraxis in der Vergangenheit nicht wirklich geschätzt oder erreicht wurde, bedeutet dies, dass sie in Wirklichkeit nicht existiert. Warum sollte man sich an eine Norm klammern, die in Wirklichkeit gar nicht existiert? Dies würde nur in eine "Sackgasse" führen.
Das Kriterium der "Originaltreue" bei der Übersetzung ist jedoch nicht so einfach von der Hand zu weisen. Wie in jeder anderen Disziplin auch, darf man die Bemühungen in dieser Richtung nicht aufgeben, nur weil man keine hundertprozentige Wahrheit erreichen kann. In der Praxis kann es vorkommen, dass ein gewisses Maß an "Originaltreue" geopfert wird, aber dies geschieht oft, um sicherzustellen, dass der größere Teil der "Originaltreue" erreicht wird, und zwar im Interesse einer "maximalen" Treue. Treue zum Original. Während es objektiv gesehen Übersetzungen gibt, die dem Originaltext nicht treu sind, sind Übersetzungen, die subjektiv gesehen dem Originaltext "untreu" sind, konzeptionell widersprüchlich. Der Übersetzer kann seine eigenen Grenzen nicht überschreiten, aber subjektiv kann er nicht "vorziehen" oder sich dafür entscheiden, "dreißig Prozent" originalgetreu zu sein. Sobald das subjektive Streben nach Originaltreue aufgegeben wird, gibt es für den Übersetzer keinen Grund mehr, bei "dreißig Prozent" stehen zu bleiben und sich auf zehn, fünf oder noch weniger Prozent zu bewegen. Das Streben nach Originaltreue ist also das Bindeglied zwischen dem Original und der Übersetzung, und sobald dieses Bindeglied durchtrennt ist, kann die Übersetzung nicht mehr als Übersetzung bezeichnet werden, ganz gleich, welchen anderen "'guten' Zweck" sie "erfüllt", und die Übersetzung wird natürlich aufhören zu existieren. Auf diese Weise muss die Bedeutung der "Werktreue" als subjektive Geste festgestellt werden. Das bedeutet jedoch nicht, dass der Widerspruch aufgelöst werden kann. Im Gegenteil, es bringt uns nur zum Ausgangspunkt des Widerspruchs zurück: dem Gegensatz zwischen "Werktreue" als objektivem Kriterium (Schritt 1) und "Werktreue" als subjektiver Geste (Schritt 2). Die Frage, wie man eine Einheit zwischen beiden erreichen oder zu erreichen versuchen kann, ist eines der zentralen Probleme, mit denen sich die Übersetzungstheorie befassen muss, und es ist immer schwieriger, als man denkt, trotz aller Bemühungen, die in diese Richtung unternommen wurden. In gewisser Weise ist dieses Problem mit dem Stein vergleichbar, den Sisyphos in der griechischen Mythologie nie auf den Gipfel des Berges schieben konnte und der einen ständigen Druck auf den Geist ausübt. Aus dieser Perspektive erscheint die Ablehnung des Kriteriums der "Werktreue" als tragischer Versuch, den Widerspruch zu umgehen, indem man sich von ihm zurückzieht und so dem Druck entgeht und völlige Freiheit erreicht. Es ist "tragisch", weil durch die Aufgabe der "Originaltreue" die Grundlagen der Übersetzungsdisziplin erschüttert werden und die Befürworter selbst an "Aphasie" leiden werden: jede Kritik an der Übersetzung wird ihre Spezifität verlieren. Jegliche Übersetzungskritik wird ihre Besonderheit verlieren und sich nicht mehr von der Hermeneutik, dem Kreationismus oder einer anderen Theorie unterscheiden können.

= = = = = =
Bla, bla, bla

= = = Conclusion = = =
Bla, bla, bla
= = = References = = =

Finals Trans 3

2022-12-28T15:15:13Z

Liu Ziwei: /* = = = = */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

= = = Abstract = = =
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==
Künstlerisch, wissenschaftlich und textgetreu
===题目===
“艺术”论与“科学”论在翻译实践中的统一

= = = 摘要 = = =
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

= = = 关键词 = = =
艺术论科学论忠于原文

= = = Introduction = = =
Die Entwicklung der Linguistik legte den Grundstein für die Scientology, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Die Entwicklung der Linguistik lieferte die Grundlage für die wissenschaftliche Theorie, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Trotzdem, Die Interpretation der Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich grundlegend von dem, was oft als literarische Schule bezeichnet wird Die Interpretation von Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich jedoch grundlegend von der Auffassung der so genannten literarischen Schule. Hier ist die Kunst nicht durch die Natur der Übersetzung vorgeschrieben, sondern als Ergänzung zur Wissenschaft. sondern vielmehr als Ergänzung oder Ersatz für die Wissenschaft. Wissenschaft Die Wissenschaft braucht einen festen Boden, und wenn sie Treibsand unter ihren Füßen findet Wenn man Treibsand unter den Füßen hat, muss man auf die Flügel der Phantasie zurückgreifen, auf denen die Kunst frei fliegen kann. Aber, Mit dem Eintreten der Kunst kam es jedoch zu einem neuen und komplexeren Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft. Der Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft.

= = = = = =Die Widersprüche der "Werktreue" in der tatsächlichen Übersetzung
Das Ziel der "Originaltreue" ist eine natürliche Anforderung an Übersetzer und steht seit Jahrhunderten im Mittelpunkt der Übersetzungstheorie und -praxis. In letzter Zeit scheint es jedoch eine gewisse Skepsis und sogar Leugnung zu geben. Lefebvre sagt: "Die Treue zum Original ist nur eine von vielen Übersetzungsstrategien, das Produkt einer Kombination aus einer bestimmten Ideologie und einer bestimmten Auffassung von Literatur. Sie als einzig mögliche oder gar einzig zulässige Strategie darzustellen, ist unpraktisch und sinnlos".
Das in unserem Land vorherrschende Kriterium stellt die "Werktreue" in den Vordergrund, aber selten wird die Frage nach dem "Warum" gestellt. Warum muss eine Übersetzung (so weit wie möglich) versuchen, dem Original treu zu bleiben? Was ist, wenn der Übersetzer eine andere Agenda, eine andere Präferenz hat? Was ist, wenn die gesellschaftliche Realität das Streben nach größtmöglicher Originaltreue nicht zulässt oder nicht begünstigt? Ist eine Übersetzung, die nicht ganz originalgetreu ist, zwangsläufig schädlich? Was ist, wenn eine Übersetzung, die nicht originalgetreu ist, ihr Ziel erreicht, selbst eine "gute" Übersetzung? Aber warum sollten die Menschen gezwungen sein, zwischen zwei Extremen zu wählen - 100 % Originaltreue auf der einen Seite und Null-Treue auf der anderen? Warum kann ein Übersetzer nicht entscheiden, ob er sich zu 70, 50 oder 30 Prozent an das Original halten will?
Wenn wir an den Anfang zurückgehen, an den ursprünglichen Zweck der Übersetzungstätigkeit, erscheint die Frage sehr einfach. Die Übersetzung ist aus dem Bedürfnis nach kulturellem Austausch entstanden. In dieser Hinsicht ist es vergleichbar mit der Einführung westlicher Malerei oder westlicher Musik im eigenen Land oder, im Gegensatz dazu, mit der Einführung chinesischer Malerei oder chinesischer Volksmusik im Ausland. Unabhängig von den anderen Zielen solcher Einführungen sind sie in einem primären und grundlegenden Ziel identisch: das Originalwerk so darzustellen, wie es von der Zielkultur rezipiert werden sollte. Wenn es absurd wäre, bei der Präsentation eines Gemäldes oder einer Musikkomposition die Farben, Linien oder Melodien eines Originalwerks zu verändern, dann würde die ideale Übersetzung keine willkürliche Veränderung des Originalwerks zulassen. An dieser Stelle ist absolute Originaltreue gefragt, und wir haben nicht die Wahl zwischen "70, 50 oder 30 Prozent".
Es ist klar, dass "Originaltreue" gleichbedeutend ist mit "objektiver Wahrhaftigkeit": "Originaltreue" impliziert die vollständige und unverfälschte Wiedergabe eines existierenden Objekts. Es ist aber auch klar, dass wir die Analogie zwischen der Übersetzung und der Präsentation von Bildern und Musik nicht aufrechterhalten können. Der Hauptgrund dafür liegt in dem unterschiedlichen Medium, das von den beiden verwendet wird. Herr Qian Zhongshu wies vor langer Zeit darauf hin, dass "wir unterscheiden sollten, dass, wenn das Medium der Malerei die Farbe und die Linie ist und das Medium der Musik der Ton ist, das Medium der Poesie nicht die Worte, sondern die Worte und die Bedeutung der Worte ist; wenn wir die Worte selbst als das Medium der Literatur nehmen und die Bedeutung der Ideen außer Acht lassen, dann wird ein Gedicht von der Form der Worte her als nichts als Tintenflecken erscheinen, und vom Klang der Worte her wird es wie nichts als Der Unterschied im Medium führt zu einem weiteren Problem. Dieser Unterschied des Mediums führt zu einem weiteren außerordentlich wichtigen Unterschied, der in der Übersetzungstheorie seit langem diskutiert wird: Die Darstellung eines Gemäldes oder eines Musikstücks kann in zwei Schritte unterteilt werden: zunächst die Wiedergabe des Originals, eines rein objektiven, physischen Phänomens (ein rein wissenschaftlicher Prozess, unabhängig davon, ob es verzerrt ist oder nicht), und dann die Interpretation der verschiedenen Bedeutungen, die das Werk haben kann; während bei der Übersetzung aufgrund der Besonderheit der sprachlichen In diesem alternativen Schritt konzentriert sich das gesamte Übersetzungsproblem, und es entstehen Zweifel an der Möglichkeit einer objektiven Originaltreue. Da die Interpretation unweigerlich von sozialen, historischen und vor allem subjektiven Faktoren auf Seiten des Übersetzers beeinflusst wird, wird argumentiert, dass die Anerkennung der Übersetzung als Interpretation gleichbedeutend mit der Anerkennung der Legitimität der subjektiven Entscheidung des Übersetzers ist. Die "Werktreue" wird so zu einem sehr subjektiven Konzept, das aufgrund des Fehlens einer objektiven Definition oder von Kriterien nicht praktikabel ist. Und wenn die Umfrage zeigt, dass die Übersetzungspraxis in der Vergangenheit nicht wirklich geschätzt oder erreicht wurde, bedeutet dies, dass sie in Wirklichkeit nicht existiert. Warum sollte man sich an eine Norm klammern, die in Wirklichkeit gar nicht existiert? Dies würde nur in eine "Sackgasse" führen.
Das Kriterium der "Originaltreue" bei der Übersetzung ist jedoch nicht so einfach von der Hand zu weisen. Wie in jeder anderen Disziplin auch, darf man die Bemühungen in dieser Richtung nicht aufgeben, nur weil man keine hundertprozentige Wahrheit erreichen kann. In der Praxis kann es vorkommen, dass ein gewisses Maß an "Originaltreue" geopfert wird, aber dies geschieht oft, um sicherzustellen, dass der größere Teil der "Originaltreue" erreicht wird, und zwar im Interesse einer "maximalen" Treue. Treue zum Original. Während es objektiv gesehen Übersetzungen gibt, die dem Originaltext nicht treu sind, sind Übersetzungen, die subjektiv gesehen dem Originaltext "untreu" sind, konzeptionell widersprüchlich. Der Übersetzer kann seine eigenen Grenzen nicht überschreiten, aber subjektiv kann er nicht "vorziehen" oder sich dafür entscheiden, "dreißig Prozent" originalgetreu zu sein. Sobald das subjektive Streben nach Originaltreue aufgegeben wird, gibt es für den Übersetzer keinen Grund mehr, bei "dreißig Prozent" stehen zu bleiben und sich auf zehn, fünf oder noch weniger Prozent zu bewegen. Das Streben nach Originaltreue ist also das Bindeglied zwischen dem Original und der Übersetzung, und sobald dieses Bindeglied durchtrennt ist, kann die Übersetzung nicht mehr als Übersetzung bezeichnet werden, ganz gleich, welchen anderen "'guten' Zweck" sie "erfüllt", und die Übersetzung wird natürlich aufhören zu existieren. Auf diese Weise muss die Bedeutung der "Werktreue" als subjektive Geste festgestellt werden. Das bedeutet jedoch nicht, dass der Widerspruch aufgelöst werden kann. Im Gegenteil, es bringt uns nur zum Ausgangspunkt des Widerspruchs zurück: dem Gegensatz zwischen "Werktreue" als objektivem Kriterium (Schritt 1) und "Werktreue" als subjektiver Geste (Schritt 2). Die Frage, wie man eine Einheit zwischen beiden erreichen oder zu erreichen versuchen kann, ist eines der zentralen Probleme, mit denen sich die Übersetzungstheorie befassen muss, und es ist immer schwieriger, als man denkt, trotz aller Bemühungen, die in diese Richtung unternommen wurden. In gewisser Weise ist dieses Problem mit dem Stein vergleichbar, den Sisyphos in der griechischen Mythologie nie auf den Gipfel des Berges schieben konnte und der einen ständigen Druck auf den Geist ausübt. Aus dieser Perspektive erscheint die Ablehnung des Kriteriums der "Werktreue" als tragischer Versuch, den Widerspruch zu umgehen, indem man sich von ihm zurückzieht und so dem Druck entgeht und völlige Freiheit erreicht. Es ist "tragisch", weil durch die Aufgabe der "Originaltreue" die Grundlagen der Übersetzungsdisziplin erschüttert werden und die Befürworter selbst an "Aphasie" leiden werden: jede Kritik an der Übersetzung wird ihre Spezifität verlieren. Jegliche Übersetzungskritik wird ihre Besonderheit verlieren und sich nicht mehr von der Hermeneutik, dem Kreationismus oder einer anderen Theorie unterscheiden können.

= = = = = =
Bla, bla, bla

= = = Conclusion = = =
Bla, bla, bla
= = = References = = =

Finals Trans 3

2022-12-28T14:54:37Z

Liu Ziwei: /* = = Introduction = = */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

= = = Abstract = = =
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==
Künstlerisch, wissenschaftlich und textgetreu
===题目===
“艺术”论与“科学”论在翻译实践中的统一

= = = 摘要 = = =
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

= = = 关键词 = = =
艺术论科学论忠于原文

= = = Introduction = = =
Die Entwicklung der Linguistik legte den Grundstein für die Scientology, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Die Entwicklung der Linguistik lieferte die Grundlage für die wissenschaftliche Theorie, aber gleichzeitig war es das tiefere Verständnis der Sprache, das den Einzug der Kunst in die Übersetzung unumgänglich machte. Trotzdem, Die Interpretation der Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich grundlegend von dem, was oft als literarische Schule bezeichnet wird Die Interpretation von Kunst in der Übersetzung auf dieser Grundlage unterscheidet sich jedoch grundlegend von der Auffassung der so genannten literarischen Schule. Hier ist die Kunst nicht durch die Natur der Übersetzung vorgeschrieben, sondern als Ergänzung zur Wissenschaft. sondern vielmehr als Ergänzung oder Ersatz für die Wissenschaft. Wissenschaft Die Wissenschaft braucht einen festen Boden, und wenn sie Treibsand unter ihren Füßen findet Wenn man Treibsand unter den Füßen hat, muss man auf die Flügel der Phantasie zurückgreifen, auf denen die Kunst frei fliegen kann. Aber, Mit dem Eintreten der Kunst kam es jedoch zu einem neuen und komplexeren Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft. Der Widerspruch zwischen dem Wesen der Kunst und den Zwängen der Wissenschaft.

= = = = = =
Bla, bla, bla

= = = = = =
Bla, bla, bla

= = = Conclusion = = =
Bla, bla, bla
= = = References = = =

Finals Trans 3

2022-12-28T14:51:07Z

Liu Ziwei: /* Key Words */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

= = = Abstract = = =
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==
Künstlerisch, wissenschaftlich und textgetreu
===题目===
“艺术”论与“科学”论在翻译实践中的统一

= = = 摘要 = = =
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

= = = 关键词 = = =
艺术论科学论忠于原文

= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under References.
= = = = = =
Bla, bla, bla

= = = = = =
Bla, bla, bla

= = = Conclusion = = =
Bla, bla, bla
= = = References = = =

Finals Trans 3

2022-12-28T14:49:44Z

Liu Ziwei: /* = = 关键词 = = */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

= = = Abstract = = =
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==

===题目===
“艺术”论与“科学”论在翻译实践中的统一

= = = 摘要 = = =
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

= = = 关键词 = = =
艺术论科学论忠于原文

= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under References.
= = = = = =
Bla, bla, bla

= = = = = =
Bla, bla, bla

= = = Conclusion = = =
Bla, bla, bla
= = = References = = =

Finals Trans 3

2022-12-28T14:48:55Z

Liu Ziwei: /* = = 摘要 = = */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

= = = Abstract = = =
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==

===题目===
“艺术”论与“科学”论在翻译实践中的统一

= = = 摘要 = = =
翻译的科学论之所以陷入矛盾,其根源仍在于前面提到过的翻译对象所涉及的媒介—语言—本身所具有的特性。这种特性决定了科学无法完成其使命,因而即使很不情愿也不得不转而求助于艺术。

= = = 关键词 = = =
= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under References.
= = = = = =
Bla, bla, bla

= = = = = =
Bla, bla, bla

= = = Conclusion = = =
Bla, bla, bla
= = = References = = =

Finals Trans 3

2022-12-28T14:48:13Z

Liu Ziwei: /* = = Abstract = = */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

= = = Abstract = = =
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

== Key Words ==

===题目===
“艺术”论与“科学”论在翻译实践中的统一

= = = 摘要 = = =
= = = 关键词 = = =
= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under References.
= = = = = =
Bla, bla, bla

= = = = = =
Bla, bla, bla

= = = Conclusion = = =
Bla, bla, bla
= = = References = = =

Finals Trans 3

2022-12-28T14:47:42Z

Liu Ziwei: /* = = Abstract = = */

Back to [[Finals_Trans]] and to [[Translation_Theory_ZH-DE_2022|Course Homepage]].

==Group 3==
===廖平荣 Liao Pingrong Pia 女 [[Special:Contributions/Liao_Pingrong]]===

= = = Topic = = =
On the Translatability and Untranslatability of Translation - The Case of Chinese Humour and British Humour < c e n t e r > 廖平荣 Liao Pingrong Pia, 202030097005 < / c e n t e r >

= = = Abstract = = =

As living standards continue to rise, the problem of food and clothing has largely been solved. At the same time, the demand for entertainment has increased, for example, the creation of talk shows and the diversification of formats. Chinese humour and British humour have played an important role in these shows and have had a very different effect. While humour may seem on the surface to be a tool for entertainment, in fact it often reflects the great wisdom of the people it represents and is one of the smallest shortcuts to a deeper understanding of different cultures. A quite accurate translation of humorous language from one culture to another is a crucial step. The aim of this essay is to examine the translatability and untranslatability of translation, using Chinese humour and British humour as an entry point.

= = = Key Words = = =

Translatability; Untranslatability; Humour; Eugene A. Nida

= = = 题目 = = =

论翻译的可译性与不可译性——以中式幽默和英式幽默为例

= = = 摘要 = = =

随着生活水平不断提高，人们的温饱问题基本上得到解决。与此同时人们对娱乐生活的需求也逐渐增加，比如说脱口秀节目的产生以及形式的多样化。中式幽默和英式幽默在这些节目当中扮演着较为重要的角色并产生了截然不同的效果。幽默虽然在表面上似乎只是供众人娱乐的工具之一，但事实上它往往反映着它所代表的民族的大智慧，是人们深入了解不同文化的小捷径之一。而较为准确地翻译不同文化体系的幽默语言是较为关键的一步。本篇文章旨在以中式幽默和英式幽默为切入点，研究翻译的可译性与不可译性的问题。

= = = 关键词 = = =

翻译的可译性；不可译性；幽默；尤金 A. 奈达

= = = Background = = =

The question of translatability and untranslatability is often addressed in translation theory. Under what circumstances is the source text translatable? To what extent can the source text be translated? What causes the translatability and untranslatability of a translation? What are the requirements for translators to translate source texts? Translation scholars have created many theories based on these questions. So, is there really a theory that can solve this problem perfectly? This article will answer each of these questions with examples of Chinese humour and British humour.

= = = 1 Introduction = = =

= = = 1.1 Humour = = =

In the Chinese dictionary humour means funny or ridiculous and meaningful (this kind of humour often makes people think a lot of sense) or silent. In the Oxford dictionary the meaning of humour is the quality in sth that makes it funny or amusing or the state of your feelings or mind at a particular time. The first interpretation of humour in both Chinese and English is taken throughout this article. Although there is not much difference between Chinese and English in terms of literal meaning, there is a great cultural difference in terms of form and content.

= = = 1.2 Chinese Humour = = =

One of the most striking features of Chinese humour is the frequent use of the homophones of Chinese characters. People use homophones to achieve a humorous effect. For example, unprotected sleep is the first major branch of the sleep religion, which has billions of followers around the world. The word "religion(教)" is homophonic with the word "sleep（觉）", which actually means unprotected sleep is the first major branch of sleep. Another distinctive feature is the use of puns. For example, it is said that the actress is out of data. The word data refers both to the actress's popularity and to her mobile data. This means that the phrase is ostensibly saying that the actress' mobile data is no longer available, but in fact it is mocking the fact that the actress has gone out of fashion. Similarly: it is said that when Luda plucked the willow upside down, he frightened the flowers next to him into closing up, so others called him, 花合上( flowers is closing up). 花合上 corresponds to the pronunciation of 花和尚(the Monks who does not observe the precepts) in Chinese.

= = = 1.3 British Humour = = =

The main features of British humour are puns, quirks, irony and self-deprecation, with politics and race being important themes in British humour. For example: Punctuation is very important. It is not about the importance of punctuation, but about the importance of punctuality. The pun is used here. Another example: Excuse me, Sir. I am terribly sorry to bother you, but I wonder if you would mind helping me a moment, as long as it is no trouble, of course. This is a long list of polite words to satirise the British for their cumbersome etiquette and lack of prioritisation. This is a self-deprecating way of telling a joke.

Similar: A woman gets on a bus with her baby. The driver says, “Ugh! That’s the ugliest baby I’ve ever seen.” The woman stalks off to the rear of the bus and sits down. She turns to the man sitting next to her and says, “The driver just insulted me!” The man says, “You go and give him a telling off. I’ll hold your monkey for you.” Here irony is used, comparing the child to a monkey, ironically suggesting that the child is really ugly.

= = = 1.4 Similarities And Differences Between Chinese and British Humour = = =
= = = 1.4.1 Similarities = = =

Both Chinese humour and British humour are characterised by puns. This is influenced, to some extent, by the commonality of language. To a certain extent, there are no absolute boundaries between languages. Even when there are great differences in geography, social life and culture, religious beliefs and historical development, there can still be similarities between different languages. At the same time, in both the ancient West and in ancient China, many humorous jokes with critical overtones did not directly point out a specific powerful person, or risk severe punishment. This is therefore to some extent the reason why both Chinese and British humour can be characterised by puns.

= = = 1.4.2 Differences = = =

Chinese humour mostly originates from folk myths and legends and street business hawking, so its form is more colloquial, close to people's lives and more related to sound and rhyme. British humour, on the other hand, was often prevalent among the aristocracy in ancient times and was influenced by ancient Greek and Roman culture, so its irony and self-deprecation are more prominent. And China has its roots in an agrarian civilisation, while Britain has its roots in a maritime civilisation. These are clearly two very different civilizational development processes and living cultures, and have a greater impact on Chinese and British humour.

= = = 2 Translatability And Untranslatability of Translation = = =

Translatability refers to the translation and transformation of information in two languages, enabling the understanding and communication of information in the languages of speakers of different languages. If a source language text or unit cannot be translated into another language or unit, and communication or understanding between people who speak two different languages cannot be achieved, this is considered untranslatable.

= = = 3 Types of texts that can be translated and the degree of translatability = = =

When we use language expressions, there are several categories of expressive function: the cognitive and expressive function, the cultural function and the aesthetic function. The first category is often considered to be translatable, the second to be partially translatable, and the third to be untranslatable. (Wang Shunhang 2019, 96)

The core sentences of the cognitive and expressive function mostly use shallow sentences to express deeper meanings, and the sentence structure is simple and clear, thus reducing to a certain extent translation errors caused by cultural background and thinking level. The language used in this category is also closer to daily language, with less use of more difficult literary language. Therefore, the success rate of the source text being translated in its original form is high.

Compared to the texts of the cognitive and expressive function, culturally functional language texts place greater demands on the translator, requiring a more accurate understanding of the cultural context of the source language and the target language and a richer knowledge base. However, the results of two different cultures are not always available in the exact context and language usage that corresponds to them, resulting in the untranslatability of some language texts.

The aesthetic function of the language requires a certain level of artistic appreciation and the ability to reproduce the artistic appeal of the source text in an artistic manner. As the saying goes, there are a thousand Hamlets for a thousand readers. Each translator has a different understanding and perception of art, and different interpretative perspectives may lead to very different artistic interpretations. It is difficult to use a specific criterion to measure which translator's interpretation is wrong, and the collision between different interpretations is often resolved by the vague criterion of “what makes sense”. To some extent, the translator creates a new text modelled on the artistic text of the source language. The untranslatability of such language texts is therefore greatly enhanced.

= = = 4 Types of Untranslatability = = =
= = = 4.1 Cultural Untranslatability = = =

Cultural untranslatability (J. C. Catford 1965) arises from the fact that "contextual features associated with the native function of the source language are not present in the culture of the target language". (Xu Jun and Mu Lei 2009, 79)

Different lands and waters breed different peoples and different national characteristics. Different processes of historical development, different social productivity and production relations and different systems of thought result in different cultural systems. The geographical distance between China and the West has given rise to relatively large cultural differences. And different cultural backgrounds give rise to different forms of linguistic expression. Because of the lack of a similar cultural background, some of the source language cannot even be expressed in the target language, resulting in untranslatability and making it more difficult for the recipient of the translation to read.

Ancient Greece is the cradle of Western civilization. And while the concept of democratic politics was born in ancient Greece, with major political and historical events such as the Glorious Revolution and the French Revolution and other political movements, more and more citizens became involved in political life. The issue of racial conflict (e.g. Germanic and Jewish peoples and European Americans and indigenous Indians of North America) has also been a very important topic, especially since the modern era. The topic of politics and race has thus become a common theme in British humour.

Chinese culture is heavily influenced by Confucianism and Taoism, and Chinese humour is mostly found in the streets and alleys, so it has a strong sense of life, using the phenomenon of merchants selling vegetables and fruits or small scenes of people's lives as themes. Some of the humorous language is also told using well-known allusions, most of which do not exist in the English context. If these allusions were to be fully and clearly explained, they would probably need to be explained at great length. In this way the humorous language loses some of its interest and becomes a very long story.

But this does not mean that it is completely untranslatable. Even the greatest differences in cultural backgrounds will have their similarities. And these similarities create room for translatability. For example, the Chinese humour of "有其父必有其子" has its counterpart in the British humour. However, this also requires a certain literary quality and a certain amount of accumulated cultural imagery on the part of the translator.

= = = 4.2 Linguistic Untranslatability = = =

Linguistic untranslatability (J. C. Catford 1965) refers to the fact that the target language has no linguistic form that corresponds to the source text. Linguistic untranslatability arises mainly from the fact that two or more grammatical units or words in the source language share a single linguistic form, or that the source language unit has multiple meanings without a corresponding meaning relationship in the translated language.

Chinese belongs to the Sino-Tibetan language family and its written form and expressions are very different from those of English, which belongs to the Indo-European language family. As a result, many grammatical structures and sentences are difficult to find equivalent expressions. There is also a lack of meaningful relationship between the source language and the translated language, so it is often the case that Chinese humour and English humour are not mutually intelligible and therefore cannot be laughed at together. This is one of the major factors contributing to the untranslatability of the translation.

= = = 5 Factors Affecting The Translatability And Untranslatability of Humorous Language = = =
= = = 5.1 Differences of The Inherent Form of Humorous Language = = =

Humour, which pass from mouth to mouth, tends to have a simple formal structure and a catchy rhyme, making it easy to expand the range of people who can be influenced by the humorous language. This form of humour is easy to understand. To a large extent, the translator is able to accurately reproduce the humour of the source language, increasing its translatability. Humour that is closely related to the cultural system and has a strong artistic character is more demanding for the translator. Failure to grasp the cultural connotations of the source language can prevent the translator from appreciating the cleverness of the humorous language, resulting in a translation that is understandable to the recipient of the translation. This is one of the reasons for the untranslatability of humorous language.

Due to its cultural background, social customs and way of thinking, the typical and unique Chinese humour style emphasizes the importance of reasoning and virtue. (Cong Xiufan 2013, 105) Chinese humour emphasises the use of noble virtues and caring thoughts to inspire the audience with a deeper conscience and a deeper reflection on things themselves. It incorporates moral education and wise life lessons into simple and light-hearted humour that is fun and educational.

British culture exhibits both the variety of Western culture and the freedom and openness that distinguish it from European and American culture. Typically British humour is rarely about others, but rather about self-mockery, self-deprecation, mockery of one's own failures, dilemmas and bleak future. (Cong Xiufan 2013, 105) British humour is not very much in line with the traditional image of British culture, but it is also closely related to the development of Britain's historical and civilisational processes in the modern era. Through self-reflection, British humour seeks to draw the attention of more people and engage more people.

Chinese humour is intrinsically rational and virtuous, while British humour is intrinsically self-deprecating. The intrinsic form of the two falls into two entirely different categories. Even though the two humorous languages share similar contexts, their humorous cultures have somehow been lost, making it difficult to appreciate the subtleties of them.

= = = 5.2 Different Forms of Humorous Language = = =

Language can be broadly divided into popular language and refined language according to its pragmatic difficulty. This also applies to humorous language. The main audience for popular humour is that it generally requires less syntactic structure and rhetorical ingenuity, and it is easier to establish the corresponding contexts in the two different languages.

Humorous language whose primary audience is academics is more demanding in terms of syntax, meter and rhetoric. Even humorous language with a different meter can have a different effect. However, different languages use different sentence forms and are arranged in different ways. For example, the rhyme scheme of Chinese poetry (and occasionally poetry is used to tell Chinese humour) is completely different from the rhyme scheme of English, so if the rhyme scheme of English is forced to be translated into the rhyme scheme of Chinese, the humour will lose its original flavour.

= = = 6 Translating Humorous Language Strategies = = =
= = = 6.1 Eugene A. Nida's Theory of Formal And Dynamic Equivalence = = =

Eugene A. Nida, a prominent figure in academic circles, was far removed from the main academic centres and served quietly in the American Bible Society for over half a century. His major scholarly activities throughout his life revolved around ''the Bible'' translation. In the process of translating ''the Bible'', Eugene A. Nida developed his own theory of translation from a practical point of view, which eventually became one of the classics of translation studies. Eugene A. Nida is the author of more than 40 books and more than 250 papers, either alone or in collaboration, in addition to 13 reference books dedicated to the translators of ''the Bible''. His first monograph was ''the Bible Translating'', published in 1946. His most influential was ''Toward a Science of Translating'', published in 1964, and his second was ''The Theory and Practice of Translation'', co-authored with Charles R. Tabor (1969).

Eugene A. Nida is a world-renowned American translation scholar who has proposed the theory of formal equivalence and the theory of dynamic equivalence (later changed to the theory of functional equivalence to avoid misunderstanding). Formal equivalence focuses on the message of the text, i.e. on both the form and the content of the text. It is concerned that the information conveyed by the receiving language should be as close as possible to the different elements of the source text. (Gao Yue 2022, 110-111) Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language. （Eugene A. Nida. and Charles R. Taber 1982, 24）It is concerned with restoring the content and connotation of the text to the greatest extent possible, without forcing the text to correspond exactly to its form.

Take the Chinese humorous language of "萝卜青菜，各有所爱" as an example. According to the theory of formal equivalence, it should be translated into English as "Everyone has something they like, some people like turnips, some people like greens", but in this case it can lead to some misunderstandings. The recipient of the message does not understand why it is necessary to mention turnips and greens when telling the truth that "everyone has something they like". This is due to the influence of Chinese culture. In ancient China, which is an agrarian civilisation, the topics of people's lives are often linked to the production and sale of crops. Therefore, the humorous language passed down in those days is in one way or another related to crops. In Britain, a maritime civilisation, the topics of people's lives are mostly related to maritime trade and less to vegetables and fruits.
The phrase "To each his own" is translated using dynamic equivalence theory. This is a completely different form of expression from the Chinese one, but it accurately conveys the meaning of the phrase "萝卜青菜，各有所爱". It is also a humorous language that is inherently present in the English context and is much more acceptable to the recipient of the message. However, this also raises the problem that, due to the change in language form, the recipient only knows the meaning of the phrase, but has difficulty appreciating the culture of the source language. The symbols that symbolise the culture of the source language are also lost in the mix.

Formal equivalence can make it difficult for the recipient to understand the meaning of the humorous language in the source language, but it also creates a great deal of scope for interpretation and offers a wide range of insights. Dynamic equivalence, on the other hand, makes it easier for the recipient to grasp the humour of the source language, but at the same time it does not allow the recipient to experience the linguistic phenomenon and culture of the source language and lacks a certain amount of space for self-expression. And if the translator misunderstands the humorous language of the source language, then the recipient of the translation will misunderstand the humorous language of the source language, which may cause unnecessary problems.

When applying these two theories, the translator should be aware of what the requirements of the translation are. The requirements vary from translation to translation. Philosophical and theoretical works, for example, require as much formal correspondence as possible. Although this may make the text incomprehensible to the recipient of the translation, it does show the author's thinking to a greater extent. Literary works, on the other hand, require the translator to understand the source text and then recreate it, maintaining a high degree of consistency in content but not in form.

= = = 6.2 Transliteration = = =

If, due to cultural gaps, the things and cultural connotations involved in the source language are simply not available in the target language, and the equivalent counterpart of the source language cannot be found, the translator can use the annotation method in order to achieve the best effect of cross-cultural communication. (Li Huatian 2014, 51) As mentioned above, the distinctive feature of Chinese humorous language is the use of Chinese harmonics to achieve a humorous effect. If the translation is done entirely in English, the homophonic imagery will be lost and it will be difficult to show the charm of Chinese humour. The use of phonetic translations with notes allows the recipient of the translation to understand why two words with completely different meanings are used and what makes these two words so special in Chinese.

To give two examples: 1. Su Shi closed his door for a while and did not see any friends, his family asked him why and he said： "I want to leave my Su Shi-Circle (the same sound as the Chinese word for comfort circle)." 2. I accidentally stepped on an ant and the little ant said aggressively that it was the queen and they didn't have one anymore, then cried loudly that they really didn't have one (the same sound as later in Chinese).

= = = 6.3 Situational Translation = = =

When words in the source language have several different corresponding meanings in the target language, the translator must not generalize and must use situational translation. (Li Huatian 2014, 52) This is particularly important in the English-Chinese translation of kinship. In English, elders who are only one generation older are generally referred to only as “uncle” or “aunt”. In Chinese, there are 舅舅(mother’s brother), 舅妈(the wife of mother’brother), 姑姑(father’s sister), 姑父(the husband of father’s sister), 堂哥(the son of father’s brother), 堂妹(the daughter of father’s brother), 表哥(the son of mother’s brother)和表姐(the daughter of mother’s brother), etc. To clarify these relationships, the translator needs to understand the source language in depth and find clues according to the context in which the story takes place. This is, of course, a relatively rare phenomenon in humorous language.

= = = 6.4 Change The Metaphorical Image = = =

The use of rhetorical techniques such as explicit metaphor, metaphor, metonymy, change of metaphor, reference metaphor, inverse metaphor and personification can make language expressions more vivid and imaginative. (Li Huatian 2014, 52) Even if rhetorical devices are commonly used in literary composition, they can also be applied to translations. Although the two different languages may well result in different forms of rhetorical devices, rhetorical devices can make language come alive, as if the cultural images in the language come to mind and come to life. For example, "There are no impermeable walls, no beams that cannot be hung" is translated as "There are no secrets that time does not reveal." Similar examples include "Rome is not built in a day"(Three feet of ice is not a day's work.), "Wet behind the ears"(People are childish and ignorant.), "One boy is a boy, two boys half a boy, three boys no boy"(One monk carries water to drink, two monks carry water to drink, three monks have no water to drink.), "Once bitten, twice shy " (Once bitten by a snake, ten years in fear of a well rope.) and "Please the eye and plague the heart" (The desire for a moment's pleasure is bound to leave mischief in its wake.).

= = = 6.5 The Subjective Initiative of The Recipient/Reader of The Translation = = =

Deconstructionism is a style of design that simply means breaking down the existing unitary order, emphasising fragmentation, superimposition and reorganisation, valuing the individual, the parts themselves, and opposing the overall unity to create a sense of fragmentation and uncertainty. Although seemingly unrelated to translation theory in its conceptual understanding, deconstructionism can actually be used to address the difficult issue of translatability and untranslatability in translation. Deconstruction resists systems of categorization which separate "source" text from "target" text or "language" from "meaning," denies the existence of underlying forms independent of language, and questions theoretical assumptions which presume originary beings, in whatever shape or form. (Gentzler, Edwin Charles, Ph.D. 1990, 276)

Neither the translator nor the recipient of the translation can understand the meaning of the source text in isolation from the source language, and the translation should, to some extent, be one of the tools to assist the recipient of the translation in understanding the source text. The relevance of the source text to the source language cannot be ignored. It is only by reading the source text to a certain extent that the subtleties of the text can be truly appreciated. The recipient of the translation cannot blindly accept the message conveyed by the translator in the translation, but must use his or her own initiative in the process of reading, trying to interpret the text in relation to the source language and thinking of new ideas. Before the translation is published, the translator can try to find a few people who have never read the source text to try it out in advance, and use the feedback of a few readers to think about possible problems in the translation.

In humorous language, the translator is likely to know the core meaning of the source text, so even if he reviews the translation several times after completing it, he may still find it difficult to see the problems from a known perspective. At this point, if several people who have never encountered the humour in the source language were to read it, they might find a few things that they don't quite understand, or that they can barely understand, but that seem odd.

= = = 7 Conclusion = = =

Translation is like a continuous mountain range. When you have managed to get over one mountain, a new one appears in front of you, as if there is no end to everything. In any case, when you have successfully overcome a mountain with your own efforts, you will reap a sense of achievement and open up new ideas in translation studies. Translatability and untranslatability are common topics in translation theory, and it is difficult to come up with a theory that can solve this problem perfectly. No matter how large this mountain range is, we cannot give up the pursuit of truth. It is not only the task of translation scholars or translators to constantly improve translation theory, but also the task of the recipients or readers of the translated language.

From the translator's point of view, the translator must not only respect the originality of the source text, but also use his or her own talents to understand and interpret it, so as to restore the unique charm of the source text in an authentic translation. Respect for the originality of the source text lies at the heart of not changing the form and content of the source text at will, but retaining the linguistic form and cultural imagery of the source text until necessary. At the same time, translators must learn to use translation methods flexibly. In cases where a direct translation would make it difficult for the recipient of the translation to understand the text, the translator must learn to use his or her knowledge and personal talents to understand the content and meaning of the source text to the greatest extent possible, and to restore it to its original form. This relies on the translator having a good understanding of the cultural background of both languages and being familiar with the expressions of both languages. To be able to translate the source text in an authentic way, the translator needs to accumulate knowledge of the contexts in which the two languages are similar. In their daily lives, translators can also experience life in the place of origin of both languages, explore the lifestyle and behaviour of the local people and improve their language skills.

From the perspective of the recipient of the translation, the recipient of the translation should be inspired by the translation and look at it critically. They should also try to learn the source language and compare it with the translation, using it to interpret their own thoughts and ideas. The recipient should read the translation without preconceptions, prejudice or appreciation, and should read the translation wholeheartedly, using his or her own mind to follow the author. The recipient of a translation should not blindly follow others to make arbitrary judgements about advantages or shortcomings of a translation, but should analyse it with a critical eye. Of course, translations will inevitably contain the translator's understanding. This can either help the recipient to understand the text better and more easily, or it can lead the recipient into a misunderstanding of the text. To a certain extent, therefore, the translation can only be used as a tool for the recipient of the translation to understand the text in the source language. In order to reduce the incidence of the latter, the recipient of the translation should try to read the source text, compare the similarities and differences between the source text and the translation, and get a feel for the linguistic forms of the different languages. This approach may also open up new perspectives on the interpretation of the source text for the translator, making the translation more complete.

The smooth running of a translation therefore requires the combined efforts of many parties. Without a translator, even the best work will hardly be seen by a wider audience. In the absence of a recipient of the translation, the source text, no matter how well translated, will be little known. The source text, the translator and the translated language should be mutually fulfilling. The translatability and untranslatability of the translation is only one of the difficulties, but we believe that it will be overcome one day.

= = = 8 References = = =

[1]Cong Xiufan.丛修凡. (2013). ''中式幽默文化与英式幽默文化比较研究''.[A Comparative Study of Chinese Humour Culture and British Humour Culture].长春工业大学学报（社会科学版）[Journal of Changchun University of Technology (Social Sciences Edition)]: 105-106

[2]Eugene A. Nida. and Charles R. Taber. (1982) ''The Theory and Practice of Translation.'' The Netherlands Press: 24

[3]Gao Yue. 高玥.(2022). ''动态对等理论下许渊冲唐诗英译研究——以杜牧《清明》为例.''[ A Study on the English Translation of Xu Yuanchong's Tang Poems under the Theory of Dynamic Equivalence - Taking Du Mu's "The Tomb Sweeping Day" as an Example]. 今古文创第39期 [Modern and Ancient Cultural Creation, Issue 39]：110-113

[4]Gentzler, Edwin Charles, Ph.D.(1990). ''Contemporary Translation Theory.'' The Netherlands Press:276

[5]J.C Catford. (1965) ''A Linguistic Theory of Translation.'' Oxford University Press:3

[6]Li Huatian.李华田.(2014) ''文化的不可译性及翻译对策.'' [Cultural untranslatability and translation Countermeasures]. 湖北工程学院学报第34卷第1期 [Journal of Engineering University, VOL. 34 NO.1]: 48-53

[7]Wang Shunhang. 王顺航.(2019) ''翻译的可译性与不可译性实例分析''. [Example analysis of Translatability and Untranslatability in Translation]. 绥化学院学报第39卷第5期 [Journal of Suihua University， VOL.39 NO. 5]: 96-97

[8]Xu Jun、 Mu Lei. 许钧、穆雷. (2009) ''翻译学概论.'' [Introduction to Translation Studies]. 译林出版社 [Yilin Press]: 79

[9]Yang Zijian、 Liu Xueyun. 杨自检、刘学云.(2003) ''翻译新论''. [A Series of Translation Studies in China]. 湖北教育出版社2003年版 [Hubei Education Press, 2003 edition]:728

=刘诚熹 Liu Chengxi Taddäus 男 [[Special:Contributions/Liu_Chengxi]]=
==Topic==
skopos theory, (What is it? where and why do we use it?) taking the book “Zen and the Art of Motorcycle Maintenance” and some others as Example
==Abstract==
The development of skopos theory.
The theory focuses on the relationship among “target audience”, “original text” und “translation action”.
There is an example I want to talk about in “Zen and the Art of Motorcycle Maintenance”
==题目==
翻译目的论（什么是翻译目的论，什么情况以及什么时候用到他）以禅与摩托车维修艺术为例
==摘要==
翻译目的论的发展。
这个理论集中于“目标受众”、“原文”以及“翻译行为的关系。
这里我有一个“禅与摩托车维修艺术”中的例子想要讲述。

==Topic==
skopos theory
==Student name==
Taddäus
== Abstract ==
This chapter is on the theory and the development of the theory and some example of the theory such as Zen and the Art of Motorcycle Maintenance.
==Key Words ==
target audience, original text, translational action,= = = 题目 = = =
翻译目的论
==学生姓名==
刘诚熹
==摘要==
翻译目的论这一理论以及其发展还有一些例子= = = 关键词 = = =
目标受众、原文、翻译行为
==Emergence and Development==
First of all, let us take a look of the emergence and development of the theory of the purpose of translation.
Functionalist translation theory emerged in Germany in the 1970s. Its development has gone through several stages.
The first stage:Katharina Rice introduced the functional category into translation criticism for the first time, linking language function, discourse type and translation strategy, developing a model of translation criticism based on the functional relationship between the source text and the translated text, thus putting forward the prototype of functionalist theoretical thinking. Les believed that the ideal translation should be a comprehensive communicative translation, i.e. equivalent to the original in terms of conceptual content, linguistic form and communicative function, but in practice priority should be given to the functional features of the translation.
The second stage:Hans Vermeer (Vermeer) put forward the theory of purpose, which freed translation studies from the shackles of original-centredness. This theory argues that translation is a purposeful and consequential act based on the original text, that this act must be negotiated, and that translation must follow a series of laws, of which the law of purpose is paramount. In other words, the translation depends on the purpose of the translation. In addition, translations are subject to the 'law of intra-linguistic coherence' and the 'law of inter-linguistic coherence'. The former means that the translation must be internally coherent and comprehensible to the recipient of the translation, while the latter means that there should also be coherence between the translation and the original. With the introduction of these three principles, translations are no longer judged on the basis of 'reciprocity', but on the adequacy of the translation to achieve the desired goal. Vermeer also introduces the concept of the translation appointment, which means that it is the translator who should decide if, when and how to complete the translation. In other words, the translator should use the appropriate translation strategy for the different purposes of translation, and has the right to decide which elements of the original text can be retained and which need to be adjusted or modified according to the purpose of translation.
According to Vermeer, the highest law in translation should be the 'law of purpose'. In other words, the purpose of a translation differs from the strategy and method used in translating it. In other words, the purpose of translation determines the strategy and method of translation. The "Law of Purpose" has provided a good explanation for the controversy between naturalisation and alienation in the history of Chinese and Western translation, and even for the formal and dynamic equivalence that has been widely discussed in translation circles in the past two to three decades. Whether to adopt naturalisation or dissimilation in translation depends on the purpose of translation. Since functional translation theory is based on the 'purpose principle' as the highest criterion, and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it. The ultimate goal and main function of translation is to help people understand the main content of the film and to stimulate the audience's desire to watch it.
The third stage: Jasta Holtz-Mantari developed the functional theory of translation by drawing on communicative and behavioural theories and proposing the behavioural theory of translation. This theory views translation as a human interaction driven by purpose and oriented towards the outcome of translation. The theory had much in common with purposive theory, and Vermeer later fused the two.
The forth stage: Christina Nord fully summarises and refines the functionalist theory. For the first time in English, Christina Nord has systematically described the internal and external factors to be considered in textual analysis in translation, and how to develop translation strategies that are relevant to the purpose of translation on the basis of the function of the original text. Christina Nord completes the theory with a review of functionalist doctrines and proposes that translators should follow the guiding principle of 'function plus fidelity'. (Ocean University of China Press, 2012, Translation Purpose Theory)
The core concept of translation purpose theory is that the most important factor of the translation process is the purpose of the overall translation act. With this level of definition, the starting point of translation purpose theory is simple: who is the translation intended for? What does the translator want to express through this translation? Of course, the content of the original text cannot be ignored, but it can be altered for the purpose of highlighting a particular point, provided that the meaning is generally intact.
==Zen and Art of Motorcycle Maintenance==
Now I take Zen and the Art of Motorcycle Maintenance as exmaple.
Abstract:
In this book, the author quotes several passages from the Tao Te Ching and translates them in his own words, saying that he "found them to be exactly what he meant, but that he had expressed himself in a rigid way, whereas the Tao Te Ching was very clear. The translation therefore uses many of the words that he had previously used to express his own views.
中文为：道可道，非常道。名可名，非常名。无名天地之始，有名万物之母。故常无欲以观其徼。此两者同出而异名。同谓之玄，玄之又玄，众妙之门。道冲而用之或不盈，渊兮似万物之宗。挫其锐，接其纷，何其光，同其尘，湛兮似或存。吾不知谁之子，象帝之先。⋯⋯根绵绵若存，用之不勤。⋯⋯视之不见名曰夷，听之不闻名曰希，搏之不得名曰微，此三者不可致诘，故混而为一。其上不皎，其下不昧。绳绳不可名，复归于无物。是谓无状之状，无物之象，是谓恍惚。迎之不见其首，随之不见其后。执古之道，以御今之有，能知古始，是谓道纪。
The Tao Te Ching is a literary text, which itself is more difficult to understand than modern texts and has rhymes and so on. Since the author wanted to express his own thoughts through the Tao Te Ching, he would not have been overly concerned with the rhyme or aesthetics of the original text, but would have used words about his own thoughts to bring them into the translation.
翻译版：The quality that can be defined is not the Absolute Quality. The names that can be given it are not Absolute names. It is the origin of heaven and earth. When named it is the mother of all things… Quality (romantic Quality) and its manifestations(classic Quality) are in their nature the same. It is given different names (subjects and objects) when it becomes classically manifest. Romantic quality and classic quality together may be called the “mystic.” Reaching from mystery into deeper mystery, it is the gate to the secret of all life. Quality is all prevading. And its use is inexhaustible! Fathomless! Like the fountainhead of all things… Yet crystal clear like water it seems to remain. I do not know whose Son it is. An image of what existed before God. …Continuously, continuously it seems to remain. Draw upon it and it serves you with ease… Looked at but cannot be seen… listened to but cannot be heard… grasped at but cannot be touched… these three elude all our inquiries and hence blend and become one. Not by its rising is there light, Not by its sinking is there darkness Unceasing, continuous It cannot be defined And reverts again into the realm of nothingness That is why it is called the form of formless The image of nothingness That is why it is called elusive Meet it and you do not see its face Follow it and you do not see its back He who holds fast to the quality of old Is able to know the primeval beginnings Which are the continuity of quality.
Conclusion:
In the author's version of the translation, we can see that it does not stick to the original text, for example: quality, classic quality, romantic quality are all words used in his own system of thought, so he uses words directly from his own thought in this. This is also in line with the skopos theory.
==Adapt Song==
At first I am not so sure about, whether it is a transtion, that people adapt a song from one language to another language. People do not make use of the original text too much, because a song must can be sung in the same rhythm as the original song, so there must be viele difference.
But after learning translation theory, especially skopos theory, I think it is.
Now that the adapt still follow the meaning, rhythm and so on of the original song, the adapt is mainly from the original text, except for several changes. That is in line with skopos theory.
And I take 'Take me to your heart' as example （Michael Learns To Rock）, adapted from “吻别” Zhang xueyou张学友.
Take me to your heart：
Hiding from the rain and snow
Trying to forget but I won't let go
Looking at a crowded street
Listening to my own heart beat
So many people all around the world
Tell me where do I find someone like you girl
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Standing on a mountain high
Looking at the moon through a clear blue sky
I should go and see some friends
But they don't really comprehend
Don't need too much talking without saying anything
All I need is someone who makes me wanna sing
Take me to your heart take me to your soul
Give me your hand before I'm old
Show me what love is - haven't got a clue
Show me that wonders can be true
They say nothing lasts forever
We're only here today
Love is now or never
Bring me far away
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
Take me to your heart take me to your soul
Give me your hand and hold me
Show me what love is - be my guiding star
It's easy take me to your heart
吻别：
前尘往事成云烟
消散在彼此眼前
就连说过了再见
也看不见你有些哀怨
给我的一切
你不过是在敷衍
你笑得越无邪
我就会爱你爱得更狂野
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
想要给你的思念
就像风筝断了线
飞不进你的世界
也温暖不了你的视线
我已经看见一出悲剧正上演
剧终没有喜悦
我仍然躲在你的梦里面
总在刹那间有一些了解
说过的话不可能会实现
就在一转眼发现你的脸
已经陌生不会再像从前
我的世界开始下雪
冷得让我无法多爱一天
冷得连隐藏的遗憾
都那么地明显
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
我和你吻别在无人的街
让风痴笑我不能拒绝
我和你吻别在狂乱的夜
我的心等着迎接伤悲
Conclusion:
There is large difference between the two vision of song. They express their own thought in different way, even the emotion looks not so consistent, but in fact the same. 吻别show us the pain, being apart with the girl he loves. Take me to your heart have another sense, there is only love in his mind, he is infatuated, but he is also apart with the girl he loves. That is just what skopos theory means: you don’t have to be the same as the original one, what is really matter is what you think of. The original text is there just a situation, but the translator make his own choice. That’s why they are so different but seem still familiar.
==League of Legend==
Now I would like to talk about the translation in one game (League of Legend).
As a game, what is the purpose, the guidelines and so on, of localising a translation? To translate as closely as possible to the local culture, of course. So I checked the official website to see what the translator of the game had in mind for the Chinese translation of the characters' names and skills. So everything is done to show the character's characteristics as beautifully as possible. Let's have a look at how the translator manage that.
===含羞蓓蕾莉利娅 The Bashful Bloom Lilia===
The names of skill are all more colloquial words, while the phrasing in the national service has a more oriental flavour, vividly restoring the details of the skills but bringing a literal sense of beauty. When it comes to the details of the translation, the translator is proud to say that Lilia's skill translation is one of the more satisfying in recent times.
The skill of passive "Dream-laden Bough" translates directly as "载着梦的树枝", which is also a fairly straightforward operation, but The translation as '梦满枝' is also a fairly straightforward operation, but there is a more subtle sense of unfinished business when reading it. The reason for this is that when we see phrases such as 'flowers fill the trees' （花满树）and 'stars fill the sky'（星满空）, we more or less get the impression that it is a partial phrase with the central word in front of it. When we put the phrase 'dream full of branches' in front of us, I am sure that many of us will have a similar feeling, but in the context of Lilia's play, you can quickly realise that the focus of the phrase is on the branches themselves, with the word dream full appearing as a modifier.
The two senses of speech coexist; with "dream" as the main word, the phrase presents an image of a dream hanging on a branch; with "branch" as the main word, it describes a branch covered in dreams, which fits the game's presentation. Once this translation was established, other ideas for skill names began to emerge in conjunction with Lilia's brisk movements as she walked. In the League, most heroes' skill names are made up of four words, which are more neat and allow enough space for imagery and atmosphere to be conveyed. Two-word skill names, on the other hand, have a more definite sense of power. And the rhythmic sense of rhythm in the sound of a three-word combination is irreplaceable.
The Q-skill "Blooming Blow" translates as "开花击打", while the initial idea is "飞花一击". Flying Flower Strike". However, literally, this gives the impression of twisting a flower into a dart, and although the imagery is beautiful, it seems more in keeping with a Tyrone-like figure of an assassin. After some thought, the translator chose to use the word 'tart' to reflect the dynamics and power of the skill, while retaining the word 'flying flower', and the wording was also more unique and memorable, further consolidating the idea for the subsequent translation The wording is also unique, making it more memorable and further consolidating the idea for the subsequent translation.
The original name of the W-skill is "Watch Out! Eep!", so it is important to mention that Lilia, as a character with a "shy" theme, occasionally makes surprised cries in her voice, as if attacking others is not of her own volition, but rather It seems that the attack is not of her own volition, but a reaction of necessity. The word 'eep' is also an English word for the sound of a deer calling. If a general direction had not been established, there is a high probability that a colloquial translation similar to the original would have been used. In the context of the unity of the three skills and the performance of Lilia's skills, a more detached perspective is chosen to describe her mental state in terms of "惊惶".
The 'Swirling Seed' of the E skill itself is a format that fits well with the name of the three-character skill, while the word 'vortex'（流涡） can represent both the '流动' and The word "涡旋" is also a word that fits well with the nature of the skill. Finally, the ultimate skill, Lilting Lullaby, can literally be written as '小步摇篮曲', a combination of 'minuet'（小步舞曲） and 'lullaby'（摇篮曲）. This skill was the most difficult to translate and handle, as "lullaby" itself is already three words, and it was difficult to find a single word in Chinese that could briefly summarise the concept of lullaby without losing its meaning, so the translation was at a standstill.
After deconstructing the word, the translator thought that the word "（歌）谣" could be used as the basis for the idea, and because "谣" is the same as "摇", it inspired an idea of inversion, forming the word "Lan（兰）", and then associating it with the word "Lan", through "Mo Lan墨兰谣" and “Yu Lan（玉兰谣）”The name "The Ballad of the Late Night（夜阑人静）" was derived from the influence of names such as "The Ballad of the Magnolia（夜阑谣）", and was finally translated to imply sleep in the context of "The Late Night"（夜阑谣）. As such, a great deal of effort has gone into the translation of Lilia's skill name, striking the perfect balance between aesthetics, mood and gameplay.
Conclusion: The translator want to make the translation as local and nice as possible. So they have made great effort to manage it. And now, it is easy to see that the translator has incorporated a great deal of traditional Chinese culture into the translation of the character of Lilia, so that the Chinese can instantly feel a sense of beauty. It is not totally the same as the original text, but the main idea keep the same. That is what the skopos theory mean.
===影哨阿克尚 Rogue Sentinel Akshang===
In Akshang's case, "Rogue" refers to the fact that although he was brought up by a Sentinel of Light and was mostly disciplined by the organisation's own dogma, he was always disobedient and insistent, and his words mocked the Sentinel's rules. The 'Rogue' in this case is thus intended to convey a self-perceived identity outside the system. The localisation team had originally envisaged the titles '浪迹尖兵'and '嫉恶之勇', which represented Akshang's freedom and his righteousness, respectively. However, both of these options omitted the "sentinel"（哨兵） setting and were not sufficient to meet the criteria for a separate title, so they were not the best choice.
After further thought, the translator was inspired by the term 'dark sentry'（暗哨）, a fascinating image of a man who walks in the shadows but always keeps his faith, and then by the opposition between 'light'（光明） and 'shadows'（暗影）. The unity of opposites between "light" and "shadow" led to "Shadow Sentinel"（影哨）, thanks to the inspiration provided by the story of Lax. The title "Shadow Sentinel", on the one hand, reflects the fact that Akshang is not fully affiliated with the Light Sentinels proper, and on the other hand, it implies that he often acts alone.
I also asked about the naming of Akshang's weapon "Absolver". The name of the weapon was decided between "开赦者" and "开恩者", the translator himself preferring the pronunciation of the former, which implies "to fire, to shoot". However, from the point of view of the story, the manipulation of life and death by this weapon does not seem to involve a 'crime', but rather a mere quid pro quo, not a 'pardon' for those who died for a crime, but rather a 'favour' to save the innocent dead. It is more in keeping with the description of a "favour" that saves the innocent. The two words "pardon" and "the one", which have the same rhyme and are consecutively warped, are not very friendly to pronunciation, and in the end the national translation is "the one who opens the door to grace".
The passive skill "Dirty Fighting" is“无所不用”
This is a direct expression of the "dirty" nature of fighting by any means necessary. The translator had the idea of "兵不厌诈", which seems to fit, but after thinking about it, I think it's a bit one-sided. This passive skill allows Akshang to be flexible in combat, allowing him to add tactical options to his normal attacks. It would be thin to sum it up with a single "swindle（诈）", focusing on Akshang's ability to deceive or paralyse his opponents, but it is not. Therefore, the term "all-purpose（无所不用）" gives a fuller picture of his skills and is not as derogatory in its characterisation as the phrase "兵不厌诈".
Q-skill "Avengerang
It is actually a designer-made word, made up of the words "Avenge" and "Boomerang". A direct translation would be "Avenge Boomerang", but this translation is not only poorly written, but also a bit stiff. Given that the design team's position for Akshang was that of an assassin, Jing Ke, one of the most famous figures in our history, came into the picture. Although Jing Ke is not known for his poetry and writing, he left behind a lament that has been passed down through the ages - "The wind is blowing and the water is cold, the brave man will never return".（风萧萧兮易水寒，壮士一去不复还）
The phrase "to go but not to return"（去而不还） aroused the interest of the translator, and in view of the characteristics of the boomerang, and the fact that Akshang's greatest design feature is to revive fallen teammates, replacing this ancient phrase with "to go but not to return" would be a good way to express these two meanings, and at the same time It also adds a touch of generosity and majesty by borrowing some of the original tropes. The translator modestly says that this is the result of luck in the translation process, but that the use of allusions is only possible if one is well versed in the various stories.
The W-skill 'Going Rogue' is a dangerous way to take over a man(赴险夺人）
It is difficult to convey the meaning of the original in a direct translation, and simple English words like go, take and to are often the most difficult to handle because there are so many variations. Roughly speaking. It can be understood as going into a determined, wild stance. This skill is divided into two parts, the passive effect is the essence of Akshang the hero, reviving his teammates. The active effect, on the other hand, puts him into a state of sneaking stealth, providing movement speed when pursuing, making it easier to assassinate enemies and avenge his teammates. It would be a shame to simply follow the English for the Chinese explanation, and the translator-sensei has tried to recreate it in Chinese.
Many of you know the classic "Fight for the Wall of Maria" from the anime "Attack of the Giants", but the word "夺还" in this title is a Japanese word, but it is easy to understand that the word "夺" in it The Japanese word for "夺" is easily understood to include the word "take back", which leads to the translation "take away". It can be interpreted as either 'taking the life of another' or 'taking back the life of a teammate'. Of course, the localisation team did not completely abandon the spirit of the original text, so they finally adopted the word 'go to danger' to express the determination of the Shadow Sentry to stand up for himself, resulting in the skill name 'Go to Danger'.
E Skill "Heroic Swing"骄行荡寇
The direct translation is "英勇摆动". Based on the in-game performance of the skill, we can see that he swings like a swing over the terrain. The word "swing（荡）" has multiple meanings, as exemplified by the old film "The Seven Heroes（七侠荡寇志）", and it is also appropriate to refer to the enemy as a "ko", in line with Akshang's clear and strong view of good and evil. Therefore, the translator's teacher added the word "proudly walking（骄行）" to his personality, combining it with the word "骄行荡寇". The word "arrogant" also contains two meanings, one being an arrogant character and the other being to march in a majestic manner.
R-skill 'Comeuppance' 恩怨相抵
This is a direct reference to '因果报应', and there is nothing wrong with using this expression directly. The only point to ponder is that we are used to the idea that '报应' comes from a divine being who is beyond earthly destiny and is bestowed by a third party outside of mundane affairs, somewhat different from Akshang's initiative to seek revenge. A more appropriate expression might be "an eye for an eye, a tooth for a tooth（以怨报怨，以牙还牙）", where Akshang must use the Absolver to kill his enemy in order to resurrect his teammates.
Considering the actual performance of the move, Akshang would have to build up his power for a considerable period of time before firing, a process reminiscent of the "resist" action. The translator has once again looked at the multiple meanings of the word, and it is easy to see that the word "offset"（抵） also means "to pay off"（抵偿）, which can mean to pay off or not to pay. In addition to the concept of "one life for one life" in the setting of the enlightened one, the localisation team's use of the phrase "offsetting enmity"（恩怨相抵） can also be ideologically harmonious.
But not all roles or, to extend the scope a little - translations - can be applied directly to the traditional culture of the country. It may be that the national culture does not have a cultural or specialist vocabulary equivalent.
Conclusion: In the translation of this character is also totally different from the original text. Taking a lot of chinese culture and words into consideration, the translation make chinese feel more familiar and good, meanwhile we can get the idea of the original text.
==Conclusion==
Skopos theory gives translators a lot of space for translation action—— translators needn’t totally follow the original text, because the original text is more likely as a reference. They can choice the scence, their own target, their own word to translate. That is a way of recreat, I think. And it’s in many time good for the audience to get the meaning or some other thing from the translation of translators than just a direct translation of the original text.
==References==
1.翻译目的论（中国海洋大学出版社，2012）
2.Zen and the Art of Motorcycle Maintenance（Robert M. Pirsig）
3.Take me to your heart, 吻别
4.联盟译事

= = =刘嘉玲 Liu Jialing Dalina 女 [[Special:Contributions/Liu_Jialing]]= = =

=Thema=
Die Anwendung der funktionalen Äquivalenztheorie bei der Übersetzung chinesisch-deutscher Sprichwörter<center>刘嘉玲Liu Jialing Dalina,202030097008</center>
==Zusammenfassung==
Sprichwörter sind die Schätze der Geschichte und Kultur eines Landes oder einer Nation. Gleichzeitig sind Sprichwörter in einem bestimmten sprachlichen und historischen Kontext entstanden. China und Deutschland haben eine unterschiedliche Geschichte und Kultur und produzieren Sprichwörter mit großen Unterschieden, was die Übersetzung von Sprichwörtern zwischen China und Deutschland schwierig macht. Außerdem ist sie für die Leser schwer zu verstehen. In diesem Beitrag wird die Anwendung der funktionalen Äquivalenzübersetzungstheorie bei der Übersetzung von deutsch-chinesischen Sprichwörtern untersucht. Es soll herausgefunden werden, ob die Theorie der funktionalen Äquivalenz die Übersetzung und das Verständnis von Sprichwörtern erleichtert.
==题目==
功能对等理论在中德谚语翻译中的运用
==摘要==
谚语是一个国家或民族历史文化的瑰宝。同时谚语是在一定的语言和历史环境中形成的。中国与德国有不同的历史文化，产生的谚语也有很大的差异，这也导致了中德之间谚语翻译的难度大、读者难以理解。本文将探求功能对等翻译理论在中德谚语翻译中的运用。了解功能对等理论是否有利于谚语的翻译与理解。

===Liu Shuo Louisa [[Special:Contributions/Liu_Shuo]]===

= = 翻译实践中的归化和异化——以德剧《屌丝女士》和卡夫卡的《变形记》为例 Translation practice in domestication and foreignization -- Taking the German sketch-comedy series "Knallerfrauen" and Kafka's novel "Die Verwandlung" as Example = =

< c e n t e r > 刘硕 Liu Shuo 202030097016 < / c e n t e r >

= = Abstract = =
Einige Wissenschaftler und Wissenschaftlerinnen sind der Ansicht, dass Domestizierung und Verfremdung - unabhängig davon, welche Option gewählt wird - beibehalten werden müssen und die beiden nicht miteinander verwechselt werden dürfen. In unserer Übersetzungspraxis ist dies jedoch nicht möglich. Als zwei Übersetzungsstrategien sind Domestizierung und Verfremdung gegensätzlich und komplementär, und es gibt weder absolute Domestizierung noch absolute Dissimilation. Hier möchte ich den Einsatz von Domestizierung und Verfremdung in der Übersetzungspraxis aus der Perspektive der geschriebenen und der gesprochenen Sprache diskutieren, genauer gesagt im Hinblick auf zwei stilistisch unterschiedliche Übersetzungsobjekte: literarische Werke und TV-Serie, d.h. welche Textsorten mehr Domestizierung und welche mehr Verfremdung erfordern. Auf diesem Grund habe ich die deutsche Sketchkomödie Knallerfrauen und Kafkas Kurzgeschichte Die Verwandlung als Vertreter dieser beiden Kategorien ausgewählt. Außerdem wird Venutis Ansicht, dass heterogene Übersetzungen politisch aufgeladen sind, in diesem Papier nicht berücksichtigt. Domestizierung und Verfremdung werden hier nur als Übersetzungsstrategie betrachtet.

= = Key Words = =
Domestication and foreignization/ Domestizierung und Verfremdung，''Knallerfrauen''，''Die Verwandlung''

= = = 摘要 = = =
有些学者认为归化和异化，无论采取哪一种都必须坚持到底，不能将二者混淆使用。然而这在我们的翻译实践中是无法做到的。作为两种翻译策略，归化和异化是对立统一，相辅相成的，绝对的归化和绝对的异化都是不存在的。在这里我想从书面语和口语的角度，或者更确切地说，针对文学作品和影视剧两种风格各异的翻译对象，来讨论归化和异化在翻译实践中的运用，即哪类文本需要更多地使用归化译法，哪类文本需要更多地使用异化译法。为此，我选择德语喜剧小品《屌丝女士》和卡夫卡的短篇小说《变形记》作为这两个类别的代表。此外，文努蒂(Venuti)认为异化译法是带有政治色彩的，这一点在本文中将不被考虑。这里考虑的归化和异化仅仅作为一种翻译策略。

= = = 关键词 = = =
归化和异化，《屌丝女士》，《变形记》

= = = Introduction = = =
美籍意大利学者文努蒂(Venuti)在1995年出版的《译者的隐身》中，他总结了十七世纪以来译成英语的翻译作品(包括文学和非文学作品），认为其最基本特色是采取“归化”(domestication)译法，追求“流利”造成“自然”、“透明”的效果，而在这过程中译者“隐形”了。他认为这样做会带来两个不利的因素：第一使翻译成了二流品，外语的原文是原创性、权威、真实反映作者个性或意图的本子，而翻译是派生的、潜在的、虚假的本子；第二，导致对翻译提出透明性的要求，以造成作者仿佛存在、译文就像原文的假象。(Venuti, 1995: 6-7) 他从而提出了一个针锋相对的翻译策略：异化(foreignisation)。
而我认为，作为两种对立的翻译策略，归化和异化在不同情况下（主要是口语和书面语两种情况下）分别被使用。其原因主要在于，目标群体和翻译目的。例如，如果要将德语影视剧翻译成中文，那么目标群体就是中国观众，翻译的目的就是让观众尽可能地理解内容，享受观影乐趣。因此，采用“归化”，尽可能地削弱翻译痕迹，是更合适的。相反，翻译文学作品时，外语的原文是权威，它真实反映作者个性或意图，我们应该更多地保留原文的表达，这时，“异化”就更合适了。

In seinem 1995 erschienenen Buch The Translator's Invisibility fasste der italienisch-amerikanische Gelehrte Venuti die Übersetzungen (sowohl literarische als auch nicht-literarische) zusammen, die seit dem siebzehnten Jahrhundert ins Englische übersetzt wurden, und argumentierte, dass ihr grundlegendstes Merkmal die Annahme der "Domestizierung" -Übersetzung ist, das Streben nach "Geläufigkeit", um "natürliche" und "transparente" Effekte zu erzeugen, und dabei ist der Übersetzer "unsichtbar". Er glaubt, dass dies zwei Nachteile mit sich bringt: Erstens ist die Übersetzung zweitklassig, der Originaltext der Fremdsprache ist originell, maßgeblich und spiegelt wirklich die Persönlichkeit oder Absichten des Autors wider, während die Übersetzung abgeleitet, potentiell und falsch ist; Zweitens führt es zu einer Forderung nach Transparenz in Übersetzungen, wodurch die Illusion entsteht, dass der Autor zu existieren scheint und die Übersetzung wie das Original ist. (Venuti, 1995: 6-7) Er schlug daher eine Übersetzungsstrategie vor: Verfremdung.
Meiner Meinung nach, als zwei gegensätzliche Übersetzungsstrategien, werden Naturalisierung und Entfremdung in verschiedenen Situationen getrennt verwendet, hauptsächlich in gesprochenen und geschriebenen Sprachen. Die Hauptgründe dafür sind die Zielgruppe und der Zweck der Übersetzung. Wenn Sie beispielsweise deutsche Film- und Fernsehdramen ins Chinesische übersetzen möchten, dann ist die Zielgruppe das chinesische Publikum, und der Zweck der Übersetzung besteht darin, dass das Publikum den Inhalt so gut wie möglich versteht und den Film genießt. Daher ist es angemessener, "Einbürgerung" zu verwenden, um die Übersetzungsspur so weit wie möglich zu schwächen. Im Gegenteil, bei der Übersetzung literarischer Werke ist der Originaltext der Fremdsprache die Autorität, er spiegelt wirklich die Persönlichkeit oder Absicht des Autors wider, und wir sollten den Ausdruck des Originaltextes mehr beibehalten, in diesem Fall ist "Entfremdung" angemessener.

= = = Beispiele in der Sketchkomödie Knallerfrauen = = =
Szene 1. ( Knallerfrauen Folge 9)

Der Held: Was machst du auf Singlebörse?
你上百合网做什么？
Die Heldin: Nichts.
没什么。
Der Held: Hast du dich angemeldet?
你还注册了？
Die Heldin: Nein.
Der Held: Natürlich hast du!
你明显注册了啊
Die Heldin: Nein！
没有！
Der Held: Sag mal willst du mich verscheißern？
你耍我吗？
(Die Heldin schlug den Helden bewusstlos)Die Heldin: Du bist selber Schuld!
你这是自找的！

In dieser Szene verwendet die Übersetzung von "Singlebörse" in "Baihe.com (eine bekannte Dating-Website in China)" die Domestizierung, damit das Publikum die Szene schneller verstehen kann.

在这个场景中，把“Singlebörse”翻译成“百合网（中国知名的婚恋交友网站）”使用了“归化”的方法，让观众能更快地理解这个场景。

Szene 2. ( Knallerfrauen Folge 11)

(Die Heldin mit ihrer Tochter wartet darauf, dass der Regen aufhört.)
Scheiße, so eine Mist!
靠，真是倒霉！
Mensch, Mensch, Mensch!
讨厌，讨厌，讨厌！
Dahinten sieht es schon wieder freundlicher aus. Die fünf Minuten warten wir noch.
天儿看起来马上就要好了，我们再等五分钟。
Hätte ich meinen Schirm mitgenommen.
我要是带着伞就好了。

In dieser Szene muss der Übersetzer diese alltäglichen deutschen Sätze ", so eine Mist!", "Mensch!" verstehen. Die ausgedrückte Bedeutung und dann die Domestizierung wird verwendet, um die richtige Bedeutung zu vermitteln, damit das Publikum es besser verstehen kann. Zweitens, das "freundlicher" im Beispielsatz, können wir nicht direkt mit "更友好" übersetzen, sondern sollten entsprechend den pragmatischen Gewohnheiten des spezifischen Kontexts und der Sprache des Reiseziels genau übersetzt werden.

在这个场景中，译者需要理解这些德语日常生活用语“Scheiße, so eine Mist!，“Mensch!”所表达的意思，然后采用“归化”的方法传达正确的含义，让观众更好地理解这个片段。其次，例句中的“freundlicher”，我们不能直接翻译成“更友好”，而是应该根据具体情境和目的语言的语用习惯准确翻译。

Szene 3. ( Knallerfrauen Folge 11)

Eine schwangere Frau：In normale Hosen passe ich schon lange nicht mehr rein und finde da mal was, was halbwegs vernünftig aussieht. Sag mal, willst du nicht auch mal langsam? Ich meine, du wirst auch nicht mehr jünger. Wie alt bist du jetzt?
一般的裤子我早就穿不下了，也找不到稍微像样点的。对了，你也得快要那啥了吧，毕竟你也不年轻了。你现在多大了？
Heldin: 38.
Der Vater der Heldin: Naja, ich habe die Hoffnung ja noch nicht aufgegeben.
我还没有对她放弃希望。
(Ein Jahr später...Die Heldin erscheint mit aufgeblähtem Bauch)
Frau mit einem Baby im Arm: Nee, das gibt es nicht. Das hat deine Mutter gar nicht erzählt! Ja Kind, das habe ich gar nicht gewusst. Wann ist es denn soweit?
天啦，这怎么可能。你妈妈没有说起过啊。我完全不知道啊。日期是哪天？
Heldin: Was denn?
什么意思？
Frau mit einem Baby im Arm: Na wann ist der Stichtag?
你什么时候生？
Heldin: Ach so, (sagte sie, während sie eine Wassermelone aus ihrem Bauch zog.)Mama, herzlichen Glückwunsch zum Geburtstag. Kuchen habe ich leider nicht mehr geschafft.
啊，这个啊，(她边说边从肚子里拿出一个西瓜)妈妈生日快乐，我没来得及做蛋糕。

In ähnlicher Weise wird die Methode der Domestizierung bei der Übersetzung dieser Szene verwendet.
同样地，这个场景的翻译中也使用了归化的方法。

Szene 4. ( Knallerfrauen Folge 12)

Heldin (beim Wandern im Wald): Das gibt es doch gar nicht. Mir hat Wandern doch als Kind immer so ein Spaß gemacht. Ich glaube ich werde alt! Hilft ja nichts.
不可能啊，小时候徒步旅行多有意思啊，看来我是老了。岁月不饶人啊。

Wenn es direkt übersetzt würde, wäre es: 根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。 In diesem Fall wird es dem Publikum schwer fallen, es zu verstehen und den Spaß zu verlieren. Wenn die in der gesprochenen Sprache des Chinesischen gebräuchlichen Redewendungen, einschließlich des hier verwendeten Sprichworts(“岁月不饶人”), ausschließlich dazu verwendet würden, die Spuren der Übersetzung "unsichtbar" zu machen, dann wäre diese Comedy-Szene für das chinesische Publikum interessanter.

如果这里被直接翻译的话，将会是：根本没有，我小时候徒步总是很有意思。我觉得我变老了！什么都帮不上忙。这样的话，观众会觉得理解困难，从而丧失乐趣。如果完全使用中文口语中的常用语，包括这里使用的俗语，从而使翻译的痕迹“隐形”，那么对中国观众来说，这个喜剧场景会更有意思。

Szene 5. ( Knallerfrauen Folge 12)

Mama, warum springt die eine Giraffe auf die andere drauf?
妈妈，为什么那只长颈鹿要骑在另一只上面？
Ja, die wollen bestimmt Bockspringen oder Huckepack spielen.
是这样的，它肯定是想玩跳山羊或者叠罗汉。
Und Was ist das große lange Ding da?
那根又粗又长的东西是什么呢？
Was denn?
哪根？
Das da unter der Giraffe hängt.
就是耷拉在那只长颈鹿下面的那根。
Das ehm...Das ist ihr Laserschwert! Giraffe sind ja ganz große Star War's Fans und deshalb der Zoo Direktor denen ein Laserschwert geschenkt.
那是，那是它的激光剑！长颈鹿是星球大战的超级粉丝，所以动物园园长给它们送了一把激光剑。

Szene 6. ( Knallerfrauen Folge 12)
(Die Heldin und der Held befinden sich in einem Heißluftballon.)
Held: Oh huhuhu! Wir steigen! Wahnsinn! Das ist...Das ist der schönste Geburtstag meines Lebens!
哦吼吼！我们升起来了！爽爆了！这是…这是我一生中最棒的一次生日了！
Heldin: Ich habe dir das aber auch nicht ganz ohne Hintergedanken geschenkt. Wir sind jetzt schon seit fast zwei Jahren zusammen. Und ich denke, es ist an der Zeit, dass wir uns trennen
我不是平白无故送你这些的。我们在一起快两年了。我觉得，咱们是时候分手了。
Held: Was?!
什么？！
Heldin: Es funktioniert einfach... Weißt du, ich will gar nicht darüber reden!
咱俩实在是……知道吗，我完全不想谈这些。
Held: Aber...
但是……
Heldin: Timo, bitte. Akzeptier es einfach.
蒂姆，够了，接受现实吧。

Szene 7. ( Knallerfrauen Folge 13)

(Beim Essen)
Held: Als du mir an diesem Abend nackt Schnitzel brietest, da wusste ich, dass du die richtig für mich bist.
你那晚赤裸着为我煎肉排时，我就知道我找到了一生的良伴。
(Der Held nimmt den Ring heraus und kniet sich auf ein Knie.)
Held: Martina, willst du meine Frau werden?
玛蒂娜，你愿意成为我的妻子吗？
Heldin: Ich...brot...
我……剪过
Held: Was?
什么？
Heldin: Ich brote Schnitzel. Nee, du brotest, äh? Ich brätete?
我剪过肉排。不对，你剪过……嗯？我捡？
Held: Was?
什么？
Heldin: Du sagst, dass "du brietest", das ist die falsche Konjugation.
你说“你煎”，动词变位错了
Held: Das ist doch jetzt völlig egal, Ich mache dir hier gerade einen Heiratsantrag. Also willst du meine Frau werden?
这不是重点啊，我现在正在向你求婚呢。
Heldin: Du brotest Schnitzel, so ist es richtig. Quatsch, hä? Bin ich bescheuert?
你剪肉排，这样才对啊。也不对啊，我脑子秀逗了？
Held: Mein Gott, du hast halt ein Schnitzel gebraten, ja?
天呐，你当时煎了一块肉排，这样行了吧？
Heldin: Perfekt.
完美(也指动词完成时态)
Held: Gut, und?
终于，那你的回答呢？
Heldin: Ich habe gebraten, das ist jetzt Perfekt, wir suchen das Präteritum. Warte...
“我煎过”，这是完成时，我们要用过去式。等下哈……
Ich bratete, brätete, brütete, bräutete, brötete...ich briete, ich briet Schnitzel. Du brietest das Schnitzel. So ist es richtig.
我兼、减、捡、建、键……我煎，我煎肉排，你煎肉排，这样就对啦。

In dieser Szene muss für chinesische Zuschauer, die kein Deutsch verstehen, das Problem der Verbkonjugation im Deutschen in den Mittelpunkt gestellt werden. Es gibt keine Verbkonjugation im Chinesischen, und um dem chinesischen Publikum Empathie zu vermitteln, werden verschiedene Intonationen des Chinesischen verwendet, um die deutsche Verbkonjugation zu ersetzen. Dies ist ein klassisches Beispiel für die Notwendigkeit, "Domestizierung" zu verwenden.

在这个场景中，对于不懂德语的中国观众来说，关于德语中动词变位的问题需要重点关注。在汉语中不存在动词的变位问题，为了让中国观众感同身受，这里用汉语的不同语调来代替德语的动词变位。这是需要用到“归化”的典型例子。

Szene 8. ( Knallerfrauen Folge 14)

Freundin: Eine Kollegin von mir hat ihren Kleinen jetzt in einen zweisprachigen Kindergarten gegeben.
我的一个同事把她宝宝送去双语幼儿园了。
Heldin: Ach ja?
哦，是嘛？
Freundin: Find ich ehrlich gesagt, ein bisschen übertrieben. Ich finde, das setzen die Kindern in dem Alter viel zu früh unter Druck.
老实说，我觉得有点过了。我觉得这会给小孩太大压力。
Heldin: So verkehrt ist das gar nicht. In den ersten drei Lebensjahren da werden die Grammatikstrukturen im Gehirn angelegt. So gut wie jetzt lernen die nie wieder Sprache. Wir machen das ja genauso. Kochen spricht mit Lara Deutsch, und ich spreche mit ihr konsequent Englisch.
我倒不这么觉得。大脑语法结构的形成就是在头三年，这个时段是学习语言的黄金时段。我们现在就是这么做的。约翰跟劳拉说德语，但我一直坚持和她说英语。
Lara: Kann ich zu Julia?
我能去找茱莉娅玩吗？
Heldin: In Englisch please?
请说英语。
Lara: Can I to Julia?
能我去茱莉娅吗？
Heldin: Mama have you said that you first your homework make must. When you this already have, then you can to Julia go.
妈妈说你过，你先你的功课做完必须。如果你这个已经做完，那你可以茱莉娅去了。(按德语语序说的英语)
...
Heldin: Lara, can you me please out the bath a towel bring? Your brother has a little farmer made.
劳拉，可以你我从浴室一条毛巾拿吗？你弟弟小饱嗝打了。(按德语语序说的英语)

Ähnlich wie in der vorherigen Szene gibt es auch in verschiedenen Sprachen grammatikalische Probleme, insbesondere hier geht es auch um die grammatikalische Struktur von Deutsch und Englisch, die im Chinesischen schwer abzubilden ist. Daher kann die Wortstellung nur absichtlich gemischt werden, aber dies kann immer noch nicht genau die ursprüngliche Bedeutung vermitteln, so dass der Hinweis in der Übersetzung markiert ist.

跟上一个场景类似，这里也是不同语言的语法问题，尤其是这里还涉及到德语和英语的语法结构的问题，这在汉语中很难体现。所以只能故意打乱语序，但这样还是无法准确传达原意，因此在译文中标注了提示。

Beispielsatz 1. ( Knallerfrauen Folge 9)

Ich finde das voll cool！ Komm schon Mama！
我觉得这件酷毙了！拜托妈妈！

Beispielsatz 2. ( Knallerfrauen Folge 9)

Du gehst hier jetzt raus und rockst den Laden.
你现在出去，然后震撼全场。

Beispielsatz 3. ( Knallerfrauen Folge 9)

Hör bitte auf, den David mit der Fernbedienung auf den Kopf zu hauen! Das macht man nicht.
别用遥控器打大卫的头，这是不对的

Alle drei obigen Beispielsätze verwenden die Methode "Domestizierung" für einzelne Schlüsselwörter. Wie zum Beispiel: “酷毙了”、“震撼全场”、“这是不对的” (wenn die direkte Übersetzung lauten sollte: 人们不这样做) Diese Übersetzung betont die Situation, hat eine lebendigere Atmosphäre und macht das Publikum stellvertretender.
以上的三个例句都对个别关键词使用了“归化”的方法。如：“酷毙了”、“震撼全场”、“这是不对的”（如果直接翻译应该是：人们不这样做。）这样翻译，强调了情境，更具备生活气息，让观众更有代入感。

= = = Beispiele in der Kurzgeschichte Die Verwandlung = = =

Kapitel 3
Warum war nur Gregor dazu verurteilt, bei einer Firma zu dienen, wo man bei der kleinsten Versäumnis gleich den größten Verdacht faßte? Waren denn alle Angestellten samt und sonders Lumpen, gab es denn unter ihnen keinen treuen ergebenen Menschen, der, wenn er auch nur ein paar Morgenstunden für das Geschäft nicht ausgenützt hatte, vor Gewissensbissen närrisch wurde und geradezu nicht imstande war, das Bett zu verlassen? Genügte es wirklich nicht, einen Lehrjungen nachfragen zu lassen – wenn überhaupt diese Fragerei nötig war –, mußte da der Prokurist selbst kommen, und mußte dadurch der ganzen unschuldigen Familie gezeigt werden, daß die Untersuchung dieser verdächtigen Angelegenheit nur dem Verstand des Prokuristen anvertraut werden konnte?

为什么只有格里高尔生就这个命，要给这样一家公司当差，只要有一点小小的差池，马上就会招来最大的怀疑？难道所有员工统统都是无赖，难道他们当中没有一个忠诚、顺从的人，这个人即便只是在早晨占用公司两三个小时就于心不安得滑稽可笑，简直都下不了床了？若是派个学徒来问问真的不顶事——假若压根儿有必要这么刨根问底问个不休的话——秘书主任就非得亲自出马，就非得由此而向无辜的全家人表示，这件可疑的事情只能委托秘书主任这样的行家来调查吗？

Kapitel 4
"Herr Samsa", rief nun der Prokurist mit erhobener Stimme, " was ist denn los? Sie verbarrikadieren sich da in Ihrem Zimmer, antworten bloß mit ja und nein, machen Ihren Eltern schwere, unnötige Sorgen und versäumen – dies nur nebenbei erwähnt – Ihre geschäftlichen Pflichten in einer eigentlich unerhörten Weise. Ich spreche hier im Namen Ihrer Eltern und Ihres Chefs und bitte Sie ganz ernsthaft um eine augenblickliche, deutliche Erklärung. Ich staune, ich staune. Ich glaubte Sie als einen ruhigen, vernünftigen Menschen zu kennen, und nun scheinen Sie plötzlich anfangen zu wollen, mit sonderbaren Launen zu paradieren. Der Chef deutete mir zwar heute früh eine mögliche Erklärung für Ihre Versäumnis an – sie betraf das Ihnen seit kurzem anvertraute Inkasso –, aber ich legte wahrhaftig fast mein Ehrenwort dafür ein, dass diese Erklärung nicht zutreffen könne. Nun aber sehe ich hier Ihren unbegreiflichen Starrsinn und verliere ganz und gar jede Lust, mich auch nur im geringsten für Sie einzusetzen. Und Ihre Stellung ist durchaus nicht die festeste. Ich hatte ursprünglich die Absicht, Ihnen das alles unter vier Augen zu sagen, aber da Sie mich hier nutzlos meine Zeit versäumen lassen, weiß ich nicht, warum es nicht auch Ihre Herren Eltern erfahren sollen. Ihre Leistungen in der letzten Zeit waren also sehr unbefriedigend; es ist zwar nicht die Jahreszeit, um besondere Geschäfte zu machen, das erkennen wir an; aber eine Jahreszeit, um keine Geschäfte zu machen, gibt es überhaupt nicht, Herr Samsa, darf es nicht geben. "

“萨姆沙先生，”秘书主任提高嗓门说，“您这是怎么回事？您把您自己关在房间里，光是回答‘是’和‘不是’，不必要地引起您父母极大的忧虑，还以一种简直是闻所未闻的方式疏忽了——我只是捎带提一句——您的公务职守。我现在以您父母和您经理的名义和您说话，并正式要求您立刻做出明确的解释。我感到惊讶，我感到惊讶。我原以为您是个文文静静、明达事理的人，可是现在您似乎突然要耍怪脾气了。虽然今天早晨经理向我暗示了您不露面的原因——他提到了最近委托您收取的那笔现款，但是我确实几乎以我的名誉向他担保这根本不可能。可是如今我在这里看到您执拗得简直不可思议，我完全失去了任何兴致，丝毫也不想替您去说项了。您在公司里的地位绝不是最牢固的。这些话我本来想私下里对您说的，但是既然您在这里白白糟蹋我的时间，我就不知道，为什么令尊和令堂就不可以也一起听听呢。近来您的成绩令人很不满意；现在虽然不是做生意的旺季，这一点我们承认；但是不做生意的季节是根本不存在的，萨姆沙先生，是不允许存在的。”

In beiden Beispielen werden sowohl die Domestizierung als auch die Verfremdung Übersetzungsstrategien verwendet.
在以上两个例子中，都同时用到了归化和异化的翻译策略。

= = = References = = =

Venuti, The Translator's Invisibility 1995:6-7

（奥）卡夫卡著，《变形记》Die Verwandlung，天津人民出版社李文俊（译），Kapitel 3,4

《屌丝女士》Knallerfrauen 台词来源网络

===刘子威 Liu Ziwei Thilo 男 [[Special:Contributions/Liu_Ziwei]]===
==Topic==
Die Einheit von "künstlerischen" und "wissenschaftlichen" Theorien in der Übersetzungspraxis
Liu Ziwei Thilo 202030097015

= = = Abstract = = =
Die wissenschaftliche Übersetzungstheorie ist nach wie vor widersprüchlich.
Das Medium der Übersetzung - die Sprache - hat, wie bereits erwähnt, seine eigenen Merkmale. Die Eigenschaften des Mediums - der Sprache -, das Gegenstand der Übersetzung ist, sind, wie bereits erwähnt, so beschaffen, dass die Wissenschaft ihre Aufgabe nicht erfüllen kann. Es ist die Natur des Mediums - der Sprache -, auf die sich der Gegenstand der Übersetzung bezieht. Sie muss sich der Kunst zuwenden, wenn auch widerstrebend.

Übersetzt mit www.DeepL.com/Translator (kostenlose Version)
== Key Words ==

===题目===
“艺术”论与“科学”论在翻译实践中的统一

= = = 摘要 = = =
= = = 关键词 = = =
= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under References.
= = = = = =
Bla, bla, bla

= = = = = =
Bla, bla, bla

= = = Conclusion = = =
Bla, bla, bla
= = = References = = =

Han Han Ta de guo

2022-12-27T11:05:12Z

Liu Ziwei: /* Han_Han_Ta_de_guo_2 刘子威 Liu Ziwei */

Back to [[Book projects]]

*[[Han_Han_Ta_de_guo]] with list of common terms
*[[Han_Han_Ta_de_guo_1]]
*[[Han_Han_Ta_de_guo_2]]
*[[Han_Han_Ta_de_guo_3]]
*[[Han_Han_Ta_de_guo_4]]
*[[Han_Han_Ta_de_guo_5]]
*[[Han_Han_Ta_de_guo_6]]
*[[Han_Han_Ta_de_guo_7]]
*[[Han_Han_Ta_de_guo_8]]
*[[Han_Han_Ta_de_guo_9]]
*[[Han_Han_Ta_de_guo_10]]

=List of common terms=

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*[[Han_Han_Ta_de_guo]] with list of common terms
*[[Han_Han_Ta_de_guo_1]] 曹淑娴 Cao Shuxian
*[[Han_Han_Ta_de_guo_2]] 刘子威 Liu Ziwei
*[[Han_Han_Ta_de_guo_3]] 李馨 Li Xin
*[[Han_Han_Ta_de_guo_4]] 吴瑾如 Wu Jinru
*[[Han_Han_Ta_de_guo_5]] 刘嘉玲 Liu Jialing Dalina
*[[Han_Han_Ta_de_guo_6]] 肖玉 Xiao Yu Jenny
*[[Han_Han_Ta_de_guo_7]] 丁浩然 Ding Haoran Leon
*[[Han_Han_Ta_de_guo_8]]张迅 Zhang Cun Gisela
*[[Han_Han_Ta_de_guo_9]]
*[[Han_Han_Ta_de_guo_10]]

=Han_Han_Ta_de_guo_1 曹淑娴 Cao Shuxian=
韩寒 Han Han: 他的国 Ta de guo [Sein Land]
1
### ab hier feinübersetzt von Sabine Hinrichs:
正文第一章
闪爵读书ww.shanjue.com:2008-12-16 15:44:03 本章字数:3232
Kapitel 1.
左小龙骑着他的摩托车绕着亭林镇开了三圈，因为这个下午没有任何事情可以做。昨天他听说燃油将要涨价，于是在加油站加满了汽油，结果今天一看，涨价的是柴油，于是心情有些郁闷。他首先觉得自己是做大事的人，不应该去贪图这些小便宜，这不是他的性格，但是最郁闷的是，既然决定义无反顾的去贪了，结果一如既往的没有贪着。

Zuo Xiaolong fuhr mit seinem Motorrad dreimal um die Kleinstadt Ting Lin, weil es heute Nachmittag überhaupt nichts zu tun gab.
Gestern hatte er gehört, Benzin werde teurer, so hatte er an der Tankstelle vollgetankt. Als er heute sah, dass es nur Diesel war, der im Preis gestiegen war, war er leicht bedrückt. Früher hatte er einmal gedacht, er würde in seinem Leben etwas Großartiges zustandebringen und nicht nach solch kleinen Vorteilen streben sollen. Das war nicht sein Charakter. Aber das Deprimierendste ist, dass, da er beschlossen hat, ohne zu zögern gierig zu sein, das Ergebnis ist, dass er nichts wie immer bekommt.

这个下午阳光高照，这春天让人说不出感觉。一切春天的感觉之所以美好是因为人总是在冬天想得比较多。这台摩托车是左小龙新买来的，他耗费了自己几乎所有的积蓄。这意味着不能摔车，因为没钱维修。但是左小龙从骑摩托车开始到现在从来没有摔过，他天生有强大的平衡能力，除了利弊轻重和人际往来他经常平衡不好外，摩托车和自行车他从来都能完美平衡。但是自行车对他来说太慢了，在他很小的时候，已经开始开摩托，他风雨无阻有事没事都要骑，千里江陵一日还。这台摩托车只开了一年，是因为到里程数报废了。折合下来等于绕了地球好几圈。

An diesem Nachmittag brannte die Sonne. Dieser Frühling gibt den Menschen ein unbeschreibliches Gefühl. All die Frühlingsgefühle erscheinen deshalb so schön, weil man im Winter mehr nachdachte. Zuo Xiaolong hatte das Motorrad neu gekauft, dafür waren beinahe seine gesamten Ersparnisse draufgegangen. Er durfte also keinen Unfall haben, denn eine Reparatur hätte er sich nicht leisten können. Seitdem er das Motorrad hatte, war Zuo Xiaolong noch kein einziges Mal gestürzt. Er hatte schon immer einen ausgezeichneten Gleichgewichtssinn. Neben der Balance zwischen Vor- und Nachteilen und zwischenmenschlichen Interaktionen war er immer perfekt zwischen Motorrädern und Fahrrädern ausbalanciert. Ein Fahrrad wäre ihm zu langsam gewesen. Er fuhr schon von Kindesbeinen an Motorrad. Er wollte immer Motorrad fahren, bei Wind und Wetter und unabhängig davon, ob er etwas zu tun hatte oder nicht. Das Motorrad wurde nur ein Jahr lang gefahren und verschrottet, weil ihm die Laufleistung ausging. Zusammengefaltet entspricht die Laufleistung einer mehrmaligen Umrundung der Erde.

他是那么喜欢摩托车，因为他觉得那是男人力量的延伸。我相信如果枪支开放，他一定拥有一支。因为那同样是力量的延伸。可惜的是，不仅枪支不开放，连摩托车都禁了。看来政策的宗旨是为了让男人难以延伸。

Er liebt Motorräder so sehr, weil er denkt, dass sie eine Erweiterung männlicher Potenz sind. Wären Schusswaffen erlaubt gewesen, so bin ich sicher, dass er auch eine besessen hätte, weil das auch eine Erweiterung der Macht ist. Schade nur, dass nicht nur Schusswaffen, sondern auch Motorräder verboten waren. Offensichtlich war es das Ziel politischer Verordnungen, es Männern zu erschweren, ihre Potenz auszuleben.

这春天的气息浓郁得让摩托车引擎的空燃比都发生了变化。左小龙想找个地方去调整一下他的摩托车，因为没有以前快了。亭林镇是个很小的地方，很迷你，反正就是迷你，不能迷我，所以当地的有为青年都去了大城市里。剩下的都是阿猫阿狗们，不大气，不成大气，不成大气候。

Die Frühlingsatmosphäre ist so stark, dass sich das Luft-Kraftstoff-Verhältnis von Motorradmotoren verändert hat. Xiaolong Zuo wollte einen Platz finden, um sein Motorrad einzustellen, weil es nicht mehr so schnell war wie zuvor. Ting Lin ist eine Kleinstadt, eine Mini-Stadt, es ist sowieso Mini, kann nicht mir besessen sein. Deshalb waren alle Jugendlichen schon in die Großstädte ausgewandert. Die, die geblieben waren, waren alles unwichtige Menschen, ohne Größe, ohne Persönlichkeit, ohne Charisma.

但左小龙觉得，他不能接受大城市，大城市虽然大，但容不下一台摩托车。小地方虽然小，但可以让你随意停。他发现路边新开了一个修车铺，开进去后缓慢放下支脚，环看四周。左手边有一个扳手，长三分米。正对着是一扇窗，窗外是他们的中央院子，院子外面放着柴油桶，可以爬上去然后翻出这个房子，右手边是清洗化油器的汽油，一米外有一包烟和打火机，打火机是有用的因为桌子上还有个烟屁股。地上插着插座正在烧水，水会在两分钟开。

Zuo Xiaolong hielt Großstädte für unerträglich. Großstädte waren zwar groß, aber darin konnte man kein Motorrad fahren. Kleinstädte waren zwar klein, aber man konnte dort überall sein Motorrad parken. Er entdeckte, dass am Straßenrand eine neue Autowerkstatt eröffnet hatte. Er fuhr hinein, hielt an, stellte den Auflagestuhl ab und schaute sich um. Linkerhand gab es einen 30 cm langen Schraubenschlüssel. Gegenüber war ein Fenster. Dahinter lag ein zentraler Innenhof. Darin stand eine Dieselöltonne. Man hätte auf sie hinaufklettern und von dort auf das Haus kippen können. Rechterhand stand Dieselöl zum Reinigen von Vergasern. Einen Meter weiter gab es eine Zigarettenschachtel und ein Feuerzeug. Das Feuerzeug war funktionstüchtig. Das schloss er daraus, dass auf dem Tisch noch eine Zigarettenkippe lag. Ein Wasserkocher steckte in der Steckdose am Boden, das Wasser würde in zwei Minuten kochen.

左小龙暗自想，这环境真是太容易防身了。如果从屋子里出来的是他的仇人，在仇人操家伙前，他可以有扳手防身，如果敌人的家伙比自己的家伙长，那水炉砸过去敌人肯定够呛，屋里的人被制服以后，如果外面涌来他的帮手，左小龙则可以用打火机点燃化油器边的汽油，用扳手砸开窗，跳出去以后顺着柴油桶一蹬，然后柴油桶就倒地，自己则可以翻出围墙，顺利脱身。

Zuo Xiaolong dachte heimlich bei sich, dass man sich in dieser Umgebung wirklich leicht selbst verteidigen konnte. Wenn aus dem Zimmer nun sein Intimfeind käme, könnte er, bevor dieser mit dem Schlagstock zuschlagen konnte, sich mit dem Schraubenschlüssel verteidigen. Wenn die Waffe des Feindes länger wäre als seine eigene, könnte er den Wasserkocher gegen den Feind schleudern, was diesen ausschalten müsste. Wenn die Menschen im Raum unter Kontrolle gebracht worden seien, und seine Helfer von draußen kämen, könnte Xiaolong mit dem Feuerzeug das Dieselöl neben den Vergasern entzünden. Dann könnte er mit dem Schraubenschlüssel das Fenster einschlagen und hinausspringen. Dort würde er dann gegen die Dieselöltonne treten, sie würde umkippen und er selbst könnte so elegant aus dem ummauerten Innenhof entkommen.

真是很安全，在这里没人可以暗算我。左小龙的内心发言道。

Das ist ja wirklich sehr sicher, hier kann niemand einen Anschlag auf mich verüben, dachte Xiaolong heimlich bei sich.

突然间背后一只手拍在左小龙的肩膀上，左小龙吓了一大跳，摩托车都差点没扶住。背后的人说道：“修摩托车啊。”

Plötzlich klopfte eine Hand von hinten auf seine Schulter und Xiaolong erschrak heftig, fast wäre das Motorrad umgekippt. Der Mann hinter seinem Rücken sagte: „Wohl eine Motorrad-Reparatur!“

左小龙差点被自己分泌的肾上腺素呛到。他镇定道：“嗯，调整一下。这个摩托车有点慢了，我觉得是空燃比有问题。”

Zuo Xiaolong hätte sich fast von seinem Adrenalinstoß ablenken lassen. Geistesgegenwärtig sagte er: „Mh-mh. Einmal Justieren. Das Motorrad ist etwas langsam, ich denke, dass der Verteiler Probleme macht.“

修理工把摩托车推进了屋子，发动以后闻了闻味道，说：“没问题啊。我骑一下。”

Der Mechaniker schob das Motorrad in die Werkstatt, ließ den Motor an, schnupperte dann und sagte: „Kein Problem. Ich fahre einmal damit.“

左小龙略有犹豫，毕竟摩托车就像他的女人，被别人骑一骑心里肯定不痛快。但转念他又想，这就好比自己的女人患了妇科疾病，但正好碰到个男医生，那也没有办法。

Xiaolong zögerte kurz, immerhin war das Motorrad so etwas wie seine Freundin. Wenn die eigene Freundin von einem anderen geritten wurde, machte ihn das bestimmt nicht fröhlich. Er überlegte es sich dann aber anders und dachte, dass das ja genauso war, wie wenn seine Freundin zum Frauenarzt musste, und auf einen männlichen Arzt stieß. Da konnte man dann auch nichts machen.

修理工上车以后笨拙的在屋子里调了个头，左小龙生怕他在自己的修理铺里就撞了。但毕竟已经答应了，碍于面子也不能反悔。

Nachdem der Mechaniker in das Auto gestiegen war, machte der Mechaniker unbeholfen eine Wende in der eigenen Halle, Xiaolong fürchtete, dass er in der eigenen Werkstatt einen Unfall bauen würde. Aber er hatte ja schon zugestimmt und konnte jetzt keinen Rückzieher mehr machen, wenn er sein Gesicht wahren wollte.

修理工出了铺子以后就是一大下的油门，前轮离地了一米高。左小龙看得没有想法，只以为对方在骑马。修理工就这么抬着前轮开了五十米，缓缓将前轮放下，开到了左小龙的面前，说：“我知道原因了，是后轮的胎压太低了，所以你觉得车有点慢。我帮你把轮胎压力调整一点就好了，但也不能打得太多，到了夏天了胎压会升高得很快，容易爆胎。”

Als der Mechaniker draußen war, drehte er den Gasgriff einmal kräftig herum. Das Vorderrad schnellte einen Meter in die Höhe. Als Xiaolong das sah, konnte er nicht anders, als zu denken, dass der andere gerade ein Pferd ritt. Der Mechaniker fuhr mit angehobenem Vorderrad fünfzig Meter, senkte das Vorderrad langsam wieder auf den Boden, fuhr zu Xiaolong zurück und sagte: „Ich weiß, woran es liegt, der Hinterraddruck ist zu niedrig, deshalb kommt dir das Motorrad etwas zu langsam vor. Ich helfe dir, den Hinterraddruck ein bisschen zu justieren, dann passt es wieder. Aber ich kann nicht zuviel Luft darauf geben, sonst wird der Luftdruck im Sommer zu schnell ansteigen. Der Reifen kann dann leicht platzen.“

左小龙还没回过神来，点了点头。

Xiaolong war noch nicht wieder ganz bei der Sache, er nickte nur mit dem Kopf.

经过了调整以后，左小龙的确感觉车子比原来好开很多。他于是开车前往雕塑园找大帅。这一路要穿过整个熟悉的地方，可以开小差，因为开错路也没有关系，他对这个地方太熟悉了。穿过了死气沉沉的人群，他来到了雕塑园。

Nach der Justierung hatte Xiaolong tatsächlich das Gefühl, dass sich das Motorrad viel besser fuhr als früher. Also fuhr er gleich zum Da Shuai, in den Skulpturenpark. Auf dem Weg kam er nur durch vertraute Gegenden. Er konnte dabei abschalten. Selbst wenn er sich verfahren würde, wäre das egal, weil er sich so gut auskannte wie in seiner Westentasche. Nachdem er eine indifferente Menschenmenge durchquert hatte, erreichte er den Skulpturenpark.

雕塑园被废弃了很久。原来这里想做一个亚洲最大的雕塑园，虽然当地老百姓都很难理解，周边城市的人是否会驱车一百里来一个莫名其妙的地方看一些雕塑。而前期所呈现的雕塑风格也和周围化工区里的破工厂厂雕没什么区别。在这个雕塑园建设到抽象风格向写实主义过渡的阶段，资金出了问题，政府又接管了它。这个巨大的公园里就只有废弃的简易民工宿舍和一些傻逼呵呵的雕塑。左小龙的职责就是看守这个雕塑园，左小龙是苟且喘息的开发商指定的看守者，他的朋友大帅则是当地开发办请来看这个雕塑园的。虽然一个是开发商，一个是开发办，而且都是看守雕塑园，但区别就是，在这个地方没有人问津的时候，开发商请来的左小龙等于是园长，开发办请来的大帅等于园书记。雕塑园大到快一望无际，长满了各种种类的植物，很多海鸥一般奇怪的大鸟经常从园子最中央草木最盛处扑腾而起，飞往十公里外的海边。有些都快长成老鹰的大小。当然，就这个问题大帅和左小龙有过争执，因为大家都没见过老鹰，大帅想象中的老鹰是合理大小，但左小龙想象中的老鹰快赶上滑翔伞那么大了，后来争论的结果是左小龙妥协了，说老猫头鹰也算老鹰吧，我见过猫头鹰，就算差不多大吧。这样大家也都能接受。

Der Skulpturenpark war vor langer Zeit aufgegeben worden. Ursprünglich wollte man hier den größten Skulpturenpark Asiens errichten. Es war für alle Einwohner schwer vorstellbar, dass die Menschen aus den umliegenden Städten 100 Kilometer mit dem Auto zu diesem seltsamen Ort fahren würden, nur um sich ein paar Statuen anzuschauen. Und der Stil der Skulpturen, die in früheren Zeiten hier auftauchten, unterschied sich überhaupt nicht von den Statuen vor den heruntergekommenen Fabriken, die im umliegenden Chemiepark aufgestellt worden waren. Während der Errichtung des Skulpturenparks, in der Phase zwischen Abstraktion und Realisierung, ging das Geld aus, und die Regierung übernahm wieder die Kontrolle. In diesem gigantischen Park gab es nur verlassene Arbeiterwohnbaracken und einige dumme Statuen. Xiaolong war dafür verantwortlich, den Skulpturenpark zu bewachen. Zuo Xiaolong ist der vom atemlos Entwickler ernannte Hausmeister, und sein Freund Dashuai wurde vom örtlichen Entwicklungsbüro eingeladen, den Skulpturengarten zu besichtigen. Der eine war also Entwickler, der andere vom Erschließungsbüro, und beide sollten den Park bewachen. Aber die Verschiedene ist, als sich niemand mehr für diesen Ort interessierte, der von der Entwickler eingesetzte Zuo Xiaolong Parkdirektor wurde und der vom Entwicklungsbüro eingesetzte Da Shuai Parksekretär. Der Park erstreckte sich fast bis ins Grenzenlose. Es wuchsen allerlei Arten von Pflanzen darin. Oft flatterten viele seltsame große Vögel, die Möwen ähnelten, aus der zentralen Grünanlage, die am prächtigsten gedeihte, um sich auf den Weg zur zehn Kilometer entfernten Meeresküste zu machen. Einige waren fast so groß wie Adler. Natürlich hatten sich Da Shuai und Xiaolong über diese Sache schon in den Haaren, weil noch keiner von ihnen Adler gesehen hatte. In Da Shuais Vorstellung waren Adler von realistischer Größe, in Xiaolongs Vorstellung waren sie annähernd so groß wie Segelflugzeuge. Das Ergebnis des Streits war schließlich, dass Xiaolong seinem Freund entgegenkam und sagte, dass Eulen auch Adler seien, und dass er schon Eulen gesehen habe, die eben diese Größe hätten. Damit konnten beide leben.

雕塑园里还有各种各样的动物，野兔、野狗、野鸡、野鸭都在这里被他们两人发现过。当然，不排除是家兔、家狗、家鸡、家鸭不小心到了这里以后,不注意打理自己的外表而被误会了。那些天马行空一样乱窜到底是天生的野物还是不拘小节的家禽，这个也都没有定论，因为两人从来没有活捉过一个。但是有一天，左小龙看见了一头野猪。大帅就没有那么幸运，他基本上看见的都是野猫。但是不管怎么样，这个地方很野。

Im Skulpturenpark gab es noch alle möglichen Arten von Tieren, Wildkaninchen, streunende Hunde, Wildhühner und Wildenten, die sie alle beide schon gesehen hatten. Natürlich kann nicht ausgeschlossen werden, dass Kaninchen, Hofhunde, Hofhühner und Hausenten zufällig hierher kamen und nicht auf ihr Aussehen achteten und missverstanden wurden. Waren jene huschenden Kreaturen nun eigentlich natürlich vorkommende Wildtiere oder einfach verwilderte Haustiere? Diese Frage blieb ungeklärt, weil beide es noch nie geschafft hatten, ein Tier zu fangen. Eines Tages sah Xiaoling ein Wildschwein. Da Shuai hatte nicht so viel Glück. Was er zu sehen bekam, waren mehr oder weniger alles Wildkatzen. Wie dem auch sei, dieser Ort war auf jeden Fall sehr wild.

通往雕塑园有两条路，左小龙往往选择比较难走的路，此时他就自觉是一个越野摩托车手，一切惊起的野物都被认为是其他车手，最后他赢了。所以每次他的朋友见到他都是不知原因的春风满面。那是因为左小龙把禽兽都打败了。

Zum Skulpturenpark führten zwei Straßen, Xiaolong wählte meist den schwierigeren Weg. Damals hielt er sich für einen Motocrossfahrer und die aufgeschreckten Wildtiere für Konkurrenzfahrer. Am Ende war er der Gewinner. So strahlte er stets, wenn ihn seine Freunde sahen, ohne dass diese wussten, warum. Das lag natürlich daran, dass er die ganzen wilden Tiere besiegt hatte.

他找到大帅，对他说：“大帅啊，我有一个想法，但我现在来不及和你说了，我有个事，我得去找一下泥巴。”

Er ging zu Da Shuai und sagte, "Da Shuai, ich habe eine Idee, aber ich habe jetzt keine Zeit für Erklärungen, ich habe etwas vor, ich muss einmal zu Niba."

说完就拧油门离开了。

So drückte er den Gasgriff und machte sich davon.

泥巴是一个纯情的姑娘。其实没有人知道什么是纯情，纯情就是一种腔调。但泥巴就是拥有这样的腔调。这世界上没有纯情的姑娘，只有疑似纯情。

Niba war ein unschuldiges Mädchen. Eigentlich wußte niemand wirklich, was ‚unschuldig’ bedeutet. Es war ein Gefühl. Niba hatte dieses Gefühl. Es gibt auf der Welt keine unschuldigen Mädchen, nur solche, die man dafür hält.

泥巴很漂亮，不少人追求，都未遂。未遂的原因是泥巴都觉得他们不遂，要么上身不遂，要么下身不遂，泥巴看人注重精神。在她眼里，没有独特精神魅力的男人们都是不健全的。

Niba war sehr schön. Viele wollten mit ihr anbandeln, aber niemand hatte Erfolg. Der Grund des Scheiterns war, dass Niba sie für verunglückt hielt. Bei einigen war der Oberkörper verunglückt, bei anderen der Unterkörper. Niba achtete bei Menschen besonders auf den Geist. Vor ihren Augen konnten nur Männer bestehen, die die Attraktivität eines unabhängigen Geistes besaßen.

她的这个性格的养成很难解释，一般难以理解的性格都是由难以理解的简单原因构成，连环杀人犯可能只是因为小时候被人很痛的踩了一脚。泥巴是因为小时候看过一部电影，所以改变了她的爱情观。但可悲的是，她不记得自己究竟看过一个什么电影了。这就意味着，她没有机会再看一遍，修正自己成长中的理解错误。

Wie sie sich diese Eigenart angewöhnt hatte, ist schwer erklärbar. Im Allgemeinen sind schwer verständliche Charaktere alle durch schwer nachvollziehbare, aber einfache Gründe entstanden. Es kann schon ausreichen, dass einem jemand als Kind schmerzhaft auf den Fuß getreten ist, um zum Serienmörder zu werden. Bei Niba war es so, dass sie als Kind einen Film gesehen hatte, der ihre Einstellung zur Liebe verändert hatte. Beklagenswerterweise erinnerte sie sich nicht mehr daran, welcher Film es eigentlich war. Das bedeutete, dass sie keine Chance hatte, den Film noch einmal zu sehen, um das Missverständnis aus ihrer Kindheit auszuräumen.

泥巴喜欢画画和幻想，这两者相辅相成，消耗大量时间。她可以边画边想，也可以边想边画，可以根据自己的画再幻想，也可以根据自己的幻想画画，这么着，一天就过去了。泥巴学了很长时间的美术，以前在小学的时候和其他队员一起画画，一天他们去画一匹马，但纯情的姑娘在这个时候就显露出自己的与众不同来，所有男男女女交的作业中，唯独泥巴画的马是不带鸡巴的。泥巴说，多难为情啊。

Niba mochte es zu malen und die Gedanken schweifen zu lassen und dass sich Gemälde und Fantasie gegenseitig ergänzten, so verwandte sie viel Zeit darauf. Sie konnte beim Malen denken und beim Denken malen. Sie konnte in ihren eigenen Bildern ihren Phantasievorstellungen nachhängen. Sie konnte nach ihren Phantasievorstellungen Bilder malen und so verging ein Tag wie im Fluge. Niba hatte lange Malerei gelernt. Als sie früher in der Grundschule mit den Klassenkameraden malte, malten sie eines Tages ein Pferd. Aber das unschuldige Mädchen hob sich zu dieser Zeit bereits von den anderen ab. Von allen Hausaufgaben, die die Schülerinnen und Schüler abgaben, hatte nur Nibas Pferd keinen Penis. Niba sagte, dass ihr das zu peinlich sei.

于是，她的纯情开始被传诵。

So war ihre Unschuld seit damals in aller Munde.

可能，可能，很多，很多年后大家会意识到他们错了。其他人只是在写生，有一画一，有老二画老二，她们中的很多人甚至都不知道那是鸡巴，但至少泥巴已经知道了。而这居然构成了她纯情的最初证据。

Vielleicht, vielleicht, nach vielen, vielen Jahren würden alle bemerken, dass sie sich geirrt hatten. Die anderen malten nur die Natur ab. Bild um Bild, Penis um Penis. Viele von ihnen wussten nicht, dass sie da einen Penis malten. Aber zumindest Niba wusste es. Ausgerechnet dies wurde der früheste Beleg für ihre Unschuld.

泥巴走路慢条斯理，泥巴说话细声细气，泥巴的一切都告诉大家，她是一个好姑娘。她自己把自己弄成了画。

Ihr Gang war stets ausgeglichen, wenn sie sprach, so mit feinem Stimmchen, alles an Niba sagte der Welt, dass sie ein liebes Mädchen war. Sie hatte sich selbst in ein Gemälde verwandelt.

但泥巴就是喜欢左小龙。

Aber Schlamm mochte ausgerechnet Drako.

正文第二章
闪爵读书ww.shanjue.com:2008-12-16 15:44:28 本章字数:2498
2. Kapitel

泥巴早在学校的时候就爱上到处溜达的左小龙，她都能分辨自己喜欢的男人的摩托车声和一般阿猫阿狗的摩托车声有什么区别，哪怕他们开的是同一款车。在泥巴看来，这引擎声都是性感的。泥巴在学校的时候最喜欢在五楼的阳台上观望前方，前面就是一个溜冰场，左小龙在那个时候喜欢溜冰——可能他觉得，溜冰至少比跑步快，所以，溜冰也是男人力量的延伸。但是泥巴还是喜欢他的白色摩托车。当时所有人的摩托车不是红的就是黑的，唯独左小龙的摩托车是白的。

Niba mochte bereits in der Grundschule den überall herumstrolchenden Xiaolong Zuo. Sie konnte am Geräusch eines Motorrads sagen, ob es der von ihr verehrte Mann fuhr, oder Hinz und Kunz. Sie konnte es sogar unterscheiden, wenn sie dasselbe Motorrad fuhren. Für Niba waren diese Geräusche alle sexuell erregend. Als Niba noch zur Schule ging, mochte sie es am liebsten, auf dem Balkon des 5. Stocks Ausschau zu halten. Vor der Schule war eine Eislaufbahn. Damals mochte Xiaolong Schlittschuhlaufen – vielleicht weil er dachte, dass Schlittschuhlaufen immerhin schneller war als laufen. Also war Schlittschuhlaufen auch eine Erweiterung männlicher Potenz. Aber Xiaolong mochte sein weißes Motorrad noch mehr. Damals hatten alle rote oder schwarze Motorräder, nur Xiaolong hatte ein weißes.

左小龙成天叼着一只烟，戴着帽子，骑着摩托车无所事事。这是一种真正的无所事事，无所事事到让外人看着就仿佛是在谋划着干大事。

Xiaolong lief den ganzen Tag mit einer Kippe im Mund herum, trug ein Cappy, fuhr Motorrad und ließ es sich gut gehen. Das war ein echter Müßiggänger. Ein Müßiggänger, der andere Menschen glauben machte, er plane eine große Sache.

泥巴在一年前向左小龙表达过她的情意。泥巴给左小龙画了一张画，画里的左小龙唯一的改变就是那香烟变成了雪茄。泥巴把画递给了左小龙。左小龙正在给自己的白色摩托车充气，他接过一看后说，恩，不错，就是香烟粗了点。多少钱？

Niba hatte Xiaolong ein Jahr zuvor ihre Zuneigung gestanden. Damals malte Niba für Xiaolong ein Bild. Der einzige Unterschied zwischen dem gemalten und dem richtigen Xiaolong war, dass die Zigarette im Mund im Bild eine Zigarre war. Niba übergab das Bild Xiaolong. Xiaolong füllte gerade Luft an seinem weißen Motorrad nach. Er nahm es, schaute es an und sagte: „Mh! Nicht schlecht, nur die Zigarette ist etwas dick geraten. Wie viel?“

泥巴说：“不要钱。”

Niba antwortete: „Das ist umsonst.“

左小龙把烟掐了说：“嗯，我最近穷，要钱没有，要命根子有一条。”

Xiaolong drückte seine Zigarette aus und sagte: „Mh, bin gerade etwas abgebrannt, wenn du Geld willst, so habe ich keins, wenn du mein Leben willst, so habe ich eins.“

泥巴深深低下了头。但内心想，这就是我喜欢的男人。

Niba neigte den Kopf tief. Aber innerlich dachte sie: ‚Genau auf so einen Kerl stehe ich.’

其实只是因为泥巴喜欢这个男人而已，他说什么自然再不能构成不喜欢的因素，而万一说对路了，那就更加喜欢。此时如果左小龙说出一句，我想干你爸爸，也丝毫不能影响泥巴的喜欢。这就是品牌忠诚度。

In der Tat, nur weil Niba diesen Mann mag, kann das, was er sagt, natürlich keinen Abneigungsfaktor mehr darstellen. Ihre Gefühle für ihn konnte das nicht beeinflussen. Falls er mit seinen Äußerungen richtig lag, würde sie ihn umso mehr mögen. Wenn Xiaolong damals z.B. sagte, dass er gerne ihr Vater wäre, konnte das ihre Zuneigung auch nicht im Geringsten beeinträchtigen. So etwas nennt man Markentreue.

左小龙问：“你学画画的？”

Xiaolong fragte sie: „Studierst du Malerei?“

泥巴点点头。

Niba nickte.

左小龙问：“你为什么画我？是因为我好画吗？我长的简单？”

Xiaolong fragte weiter: „Warum malst du mich? Bin ich gut zu malen? Sehe ich schlicht aus?“

泥巴摇摇头。

Niba schüttelte den Kopf.

左小龙把女孩子精心裱过的画三下折成香烟盒大小，放到兜里，说：“谢了。”

Xiaolong faltete das Bild, welches das Mädchen sorgfältig aufgezogen hatte, drei Mal bis auf Zigarettenschachtelgröße, steckte es in die Tasche und sagte: „Danke auch.“

接着他发动了摩托车，对泥巴说：“你叫什么名字？”

Dann ließ er sein Motorrad an und fragte Xiaolong: „Wie heißt du?“

泥巴说道：“我姓倪……”

Niba sagte: „Ich heiße Ni…“

左小龙从车把上取下头盔，说：“姓倪？这姓真怪，我从来没见过有人姓这个，假的吧，琼瑶小说看多了取的假名字吧，这世上有姓倪的吗……哦，倪萍。行，你就姓倪吧，哈哈，泥巴。”

Xiaolong nahm den Helm vom Lenker und sagte: „Du heißt Ni? Das ist ja ein komischer Nachname. Ich habe noch nie jemanden getroffen, der so heißt. Das ist doch getürkt, oder? Wohl zu viel schöngeistige Literatur gelesen und daraus einen Künstlernamen genommen? Gibt’s auf der Welt denn jemanden, der Ni heißt? Oh, Ni Ping. Na gut, dann heißt du halt Ni, mhm. – Ha, ha, Niba, wie ‚Niba’.“

从此以后，她就只许她的朋友叫她泥巴。

Seitdem durften ihre Freunde sie nur noch Niba nennen.

泥巴和左小龙的第二次碰面还是在一样的地方。那就是事隔一年的现在。左小龙的摩托车停稳当以后，泥巴给了他一本书，书名叫《切•格瓦拉》，下面是大大的CHE。

Als sich Niba und Xiaolong das zweite Mal trafen, war es wieder an derselben Stelle. Das war vor einem Jahr. Nachdem Xiaolong sein Motorrad abgestellt hatte, gab Niba ihm das Buch Che Guevara, unten stand groß „CHE“.

左小龙拿起书左右端详，念道：“切……”

Xiaolong nahm das Buch, untersuchte es eingehend und las laut: „Che…“

左小龙问泥巴：“有人姓切？这姓真怪……”

Xiaolong fragte Niba: „Gibt es jemanden, der Che heißt? Das ist ja ein wirklich seltsamer Name…“

左小龙继续他的拼音：“车……？”

Xiaolong versuchte sich weiter an der Aussprache: „Tschä…“

泥巴说：“你看了就知道了。”

Niba sagte: „Ich denke, er ähnelt dir.“

左小龙用左边的反光镜照了照自己的脸，用右手掰了掰右边的反光镜，照着书上切•格瓦拉的像，皱了皱眉头，没发表意见，然后指着书上切•格瓦拉帽子上的红星说：“他中国人？哦，不对，是个外国人，他苏联人？也不是，那就是切•格瓦拉斯基，他谁？”

Xiaolong suchte im linken Außenspiegel sein Gesicht. Dann nahm er den rechten Außenspiegel aus der Halterung. Er suchte im Buch ein Bild von Che Guevara und kniff die Augen zusammen. Er verzog keine Miene. Dann zeigte er auf den roten Stern auf Che Guevaras Mütze und fragte: „Was – ein Chinese? Ah, nein, das ist ein Ausländer. Ein Sowjetrusse? Auch nicht, dann wäre es Che Guevaraski. Wer ist er denn nun?“

泥巴说：“你看了就知道了。”

Niba sagte: „Lies es, dann wirst du es wissen.“

左小龙说：“我不看书，我没时间看书。他是朋友还是敌人？”

Xiaolong sagte: „Ich lese keine Bücher, ich habe keine Zeit zum Lesen. Ist er Freund oder Feind?“

泥巴说：“他算是中国人的朋友。是国际共产主义战士。”

Niba antwortete: „Er betrachtet das chinesische Volk als Freund und ist ein internationaler kommunistischer Kämpfer.“

左小龙想半饷，说：“哦，那就是白求恩的朋友。”

Xiaolong dachte kurz nach und sagte: „Oh, dann ist er bestimmt ein Freund von Bethune, dem kanadischen Arzt, der China geholfen hat.“

泥巴一时接不上话。左小龙把头盔扔给泥巴，说道：“戴上吧，我带你去溜达。”

Niba konnte einen Moment lang nicht anknüpfen. Xiaolong warf Niba den Helm zu und sagte: „Setz ihn auf, ich nehm dich auf eine Spritztour mit.“

泥巴接过头盔，戴在脑袋上，死活也系不上下巴的扣子。

Niba nahm den Helm, setzte ihn auf, bekam aber ums Verrecken den Gurt nicht unterm Kinn festgezogen.

左小龙说：“你们这些文化人，看这么多书，连保命的东西怎么用都不知道。我来。”

Xiaolong sagte: „Kulturmenschen wie ihr – ihr lest so viele Bücher, aber wisst noch nicht einmal, wie man lebensnotwendige Dinge benutzt. Lass mich mal.“

转身帮泥巴扣好了带子。左小龙开着摩托车载着她走。当时是春天。是春天的中旬，是一个独立的气候。阳光洒满，云朵从云朵里穿透过来，空中的风就像是裙子撩动的气流，左小龙默默的载着泥巴到了一个垃圾站前。他把泥巴放下车，摘掉自己的头盔，再取下泥巴的头盔，问：“你是不是言情小说看多了？”

Er drehte sich um und half Niba, ihren Helm anzulegen. Xiaolong fuhr mit ihr los. Damals war es Frühling. Es war Frühlingsmitte, ein eigenwilliges Klima. Alles war sonnendurchflutet, die Wolken spielten miteinander. Es sah aus, als wenn der Wind im Himmel wie ein Luftstoß ein Kleid von unten anhob, emporblies und durcheinanderwirbelte. Xiaolong kam mit Niba schweigend vor einer Müllsammelstation an. Er half Niba vom Motorrad, nahm seinen Helm ab, dann auch den ihren, und fragte: „Du hast sicher viele Liebesromane gelesen, nicht?“

泥巴回答道：“我从来没看过。”

Niba antwortete: „Liebesromane hab’ ich noch nie gelesen.“

接着暂时无话。

Danach entstand eine kurze Pause.

然后泥巴抬起头刚要说话，左小龙直接就摁住她的后脑勺给以一个长吻。吻毕左小龙指着四周的生活垃圾，说：“我最讨厌女人追求浪漫，我特地把你带到这个地方来，又臭又脏，我告诉你，不是你想象的那样，现实好残酷的，怎么样，在这个地方初吻，浪漫不浪漫？浪漫不浪漫啊？”

Schließlich hob Niba den Kopf, wollte gerade etwas sagen, als Xiaolong ihr direkt auf den Hinterkopf einen langen Kuss gab. Nach dem Kuss zeigte Xiaolong auf den Hausmüll, der rundherum lag und sagte: „Ich kann Mädchen, die nur auf Romantik aus sind, überhaupt nicht ausstehen. Ich habe dich extra hier an diesen stinkenden und dreckigen Ort gebracht. Ich sage dir – es ist nicht so, wie du dir das vorstellst. Die Wirklichkeit ist grausam. Wie ist es nun, der erste Kuss an so einem Ort, ist das romantisch? Romantisch oder nicht?“

泥巴心里想到，真他妈浪漫啊。现实好酷。

Niba dachte bei sich: ‚Das ist ja verdammt romantisch! Die Wirklichkeit ist einfach cool.’

左小龙继续开着摩托车漫无目的的巡航，泥巴靠着他的后背无所畏惧。两人没再说一句话，云层越来越厚重，阳光柔和到给万物勾金边。摩托车的油箱一共有八升大，这车百公里耗油三升，左小龙见到泥巴前汽油警示灯亮了，说明只剩下了一升油，但开着开着，摩托车开始断油了，这意味着他们开出了二十多公里，已经离开了他们的所在。此时，天恰到好处的黑了。

Xiaolong cruiste mit ihr weiter ziellos umher. Niba lehnte sich an seinen Rücken und fühlte sich ganz sicher. Die beiden sprachen nicht ein weiteres Wort. Die Wolkenschichten wurden immer bauschiger. Das Sonnenlicht tauchte alle Dinge sanft in ein goldenes Licht. Der Tank des Motorrads fasste acht Liter. Das Motorrad verbrauchte drei Liter auf 100 Kilometer. Bevor Xiaolong Niba getroffen hatte, leuchtete das Warnlicht der Tankreserve bereits, was bedeutete, dass nur noch ein Liter Sprit übrig war. Als sie so fuhren und fuhren, begann das Motorrad bereits zu stottern. Das bedeutete, dass sie schon über 20 Kilometer aus ihrem Ort herausgefahren waren. Und genau jetzt wurde es dunkel.

两人默默无语的吃了一顿饭，泥巴一直看着左小龙，左小龙一直看着饭菜。吃完饭后，左小龙将摩托车开到加油站加满了汽油，把大灯开启，左小龙问道：“你冷不冷？”

Schweigend aßen die beiden etwas. Niba schaute die ganze Zeit Xiaolong an. Xiaolong schaute die ganze Zeit sein Essen an. Als sie aufgegessen hatten, fuhr Xiaolong das Motorrad zu einer Tankstelle und tankte voll. Er schaltete den Scheinwerfer an und fragte: „Ist dir kalt?“

泥巴回答道：“冷。”

Niba sagte: „Ja.“

左小龙说：“好，去暖暖。”

Xiaolong sagte: „Gut, gehen wir uns aufwärmen.“

左小龙把摩托车停在一间酒店门口，琢磨着看大局这里超不过一百元一晚上。虽然所剩下的钱不多，但好歹比搞一个小姐便宜。到了前台，左小龙问：“多少钱？单人间。”

Xiaolong stoppte mit dem Motorrad vor einem Hotel. Er schätzte die Lage insgesamt so ein, dass es hier nicht über 100 Yuan die Nacht kosten würde. Zwar hatte er nicht mehr viel Geld übrig, aber es war immer noch billiger, als zu einer Nutte zu gehen. An der Rezeption fragte Xiaolong: „Was kostet‘s? Ein Einzelzimmer.“

装修的老气沉沉的前台和装扮的老气沉沉的前台小姐让环境很肃穆。酒店的墙壁上挂满了钟，意淫着酒店经常招待世界各地的客人。在这些钟里，除了北京时间是准确的以外，其他时间都是随性的。这象征了北京永远正确，世界上其他国家乱七八糟。在钟表的中央有一副画，画的内容是青松和流水，老鹰和老虎。

Die schwere Rezeptionstheke war im alten Stil restauriert worden und das schwere, im alten Stil herausgeputzte Rezeptionstheken-Fräulein erfüllte den ganzen Raum mit Ernst und Ehrfurcht. Die Wand des Hotels war voller Uhren. So sollte die Illusion geschaffen werden, das Hotel beherberge oft internationale Gäste. Bis auf die Uhr mit der korrekten Peking-Zeit gingen alle Uhren nach. Das symbolisierte, dass Peking stets im Recht war. Die anderen Länder auf der Erde waren im völligen Chaos versunken. Mittig zwischen den Uhren hing ein Bild, auf dem Pinien, fließendes Gewässer, ein Adler und ein Tiger dargestellt waren.

前台用计算机算出了一个价格，说，两百二十。押金三百。

Die Rezeption errechnete mit dem Taschenrechner einen Preis, es hieß: „220, mit Kaution 300.“

左小龙一看钱包，只有二百二十块钱。他顿时怀疑酒店的旋转门是不是安检的X光机，客人的私密讯息已经直接发到前台了。在形势有点急迫的时候，泥巴说道：“我这里……”

Xiaolong schaute im Portemonnaie nach, er hatte nur 220 Yuan. Er fragte sich unvermittelt, ob man in der Hoteldrehtür heimlich durchröntgt wurde, und die geheimen Privatinformationen der Gäste direkt zur Rezeption übermittelt worden waren. Als die Lage etwas angespannt geworden war, sagte Niba: „Ich habe hier …“

左小龙摆了摆手，示意不用说了。他掏出全部的二百二十元，把头盔往前台上一放，说：“这个头盔押给你，很值钱。”

Xiaolong winkte ab und bedeutete ihr, nichts mehr sagen zu brauchen. Er nahm seine gesamten 220 Yuan heraus, legte den Helm auf die Theke und sagte: „Diesen Helm lasse ich als Pfand hier, er ist sehr wertvoll.“

正文第三章
闪爵读书ww.shanjue.com:2008-12-16 15:44:45 本章字数:2337
3. Kapitel
左小龙和泥巴进了房间，左小龙拉开窗帘，两人先看窗外，结果正好有人路过一抬头，看见两个脑袋，骂道：“看什么呢，看个屁啊。”紧接着酒店的保安就出来劝阻，两人没交流好，直接打了起来，保安掏出了电击棍，直接向那人杵去。结果那人也没什么反应。两人楞在那里半天，谁都没见过电击棍的使用效果，一个在等自己有反应，一个在等对方有反应，楼上两个脑袋在看两人有什么反应，结果十秒钟过去了，大家都没反应过来到底有没有反应。代表邪恶的一方总是先开窍的，那人喊道：“没充电啊你。”然后直接抡起一掌打在保安脸上。很快聚集了很多人，警车随即赶到。

Xiaolong und Niba betraten das Zimmer, Xiaolong zog den Vorhang auf, beide schauten hinaus. Wie es der Zufall wollte, kam in diesem Moment jemand die Straße entlang, schaute auf, sah die zwei Köpfe und schimpfte: „Was gibts da zu gucken? Glotzt nicht so!“ Der Wachmann des Hotels kam sofort heraus und beschwichtigte den Mann. Die beiden kamen nicht zurecht und fingen sofort an sich zu schlagen. Der Wachmann nahm einen Elektroschocker heraus und stieß unmittelbar auf den Mann los. Jener Mann zeigte jedoch keine Reaktion. Beide warteten dort eine Ewigkeit. Keiner hatte je gesehen, was so ein Elektroschocker für eine Wirkung hatte. Der eine wartete, ob er sich selbst bewegte. Der andere wartete auf die Bewegung des Gegenübers. Die beiden Köpfe oben warteten darauf, was die beiden nun machten. Schlussendlich vergingen zehn Sekunden, und niemand hatte realisiert, ob es nun eine Wirkung gab oder nicht. Der Böse schießt immer zuerst. Der Mann rief also: „Haste wohl nich’ aufgeladen,“ und verabreichte dem Wachmann direkt eine Ohrfeige. Schnell war eine große Menschenmenge versammelt, und sofort rauschten die Streifenwagen herbei.

看到这里，泥巴先洗澡了，左小龙在窗边看局势，然后左小龙再去洗澡，出来的时候看见泥巴躺在床上，警灯闪耀的光芒隔着窗帘映在天花板和墙壁上。很快，救护车的顶灯也来帮助柔和警车灯光的锐利，房间里一片光辉。左小龙去拉紧了窗帘，发现远处已经起雾了，楼下的人渐渐被降下的水汽包围。

Bis hierhin schaute Niba zu und ging dann, um zu duschen. Xiaolong schaute sich am Fenster die Situation weiter an und ging sich dann auch waschen. Als er aus dem Badezimmer kam, sah er Niba auf dem Bett liegen. Das flackernde Blaulicht schien auf die Zimmerdecke und die Wand. Sehr schnell kam das Sirenenlicht der Ambulanz hinzu und durchbrach das Blaulicht, das Zimmer war bunt erleuchtet. Xiaolong zog den Vorhang zu und entdeckte, dass in der Ferne bereits der Morgennebel aufstieg, die Menschen unten wurden allmählich vom herabsinkenden Dunst eingehüllt.

泥巴睡在被子假惺惺看着电视。

Niba schlief auf der Bettdecke ein, während sie vorgab, fernzusehen.

左小龙回头后，泥巴说道：“我来例假了。”

Als Xiaolong den Kopf zu ihr drehte, sagte Niba: „Ich habe meine Tage.“

警车在下面喊道：“好了好了，赶紧散了，赶紧散了。”

Aus den Streifenwagen unten dröhnte es: „Gut, gut, weitergehen, weitergehen.“

泥巴接着说：“但是没有关系。”

Daraufhin sagte Niba: „Aber das macht nichts.“

当天晚上，左小龙送泥巴回家，大雾已经弥漫到比黑夜显得前路更无希望。人们有光亮可以划破黑夜，但人们始终没有任何事物可以划破浓雾，但左小龙的摩托车就可以。他们以每小时一百公里的速度开在能见度五米的雾里。泥巴紧紧抱紧，安然靠着。在雾里开快车是左小龙的一个癖好，一看到外面起雾，他就赶紧会把摩托车推出去，雾越浓他越开心，每次开回家都会得到劫后余生的莫大满足，有两次因为雾太大都没找着家。左小龙从来没有出国的想法，但如果要出，他一定选择伦敦，因为那里是雾都。左小龙在雾里爽了一刻钟，停下车来，他可能觉得太爽了，需要缓一缓。这场大雾可能是最后一场了，这是多么怪的气候，都快夏天了，还有大雾。

Als Xiaolong sie an jenem Abend nach Hause brachte, schien der dichte Nebel die Luft schon so sehr zu erfüllen, dass der Weg vor ihnen noch hoffnungsloser erschien als in finsterer Nacht. Wenn man Licht hat, kann man die Nacht durchschneiden. Nebel kann man aber mit überhaupt nichts durchschneiden. Nur Xiaolong konnte das, und zwar mit seinem Motorrad. Sie fuhren mit 100 Stundenkilometern, mit einer Sichtweite von fünf Metern, durch den Nebel. Niba schmiegte sich dicht und sicher an ihn. Im Nebel schnell zu fahren, war eines der Hobbys von Xiaolong. Immer wenn er draußen Nebel sah, holte er schnell sein Motorrad heraus. Je dichter der Nebel war, desto fröhlicher war er. Jedesmal wenn er nach Hause kam, hatte er die allergrößte Befriedigung, ein Unglück überlebt zu haben. Zweimal hatte er wegen zu dichtem Nebel nicht mehr nach Hause gefunden. Xiaolong hatte noch nie mit dem Gedanken gespielt, auszuwandern. Wenn er aber einmal auswandern sollte, würde er bestimmt London wählen, die Hauptstadt des Nebels. Xiaolong fuhr im Nebel eine Viertelstunde munter drauflos. Dann hielt er an, vielleicht dachte er, dass er zu leichtfertig drauflosgefahren war und einmal langsamer machen sollte. Dieser dichte Nebel war vielleicht sein letzter. Was für ein seltsames Klima – es war schon bald Sommer und es gab immer noch diesen dichten Nebel.

左小龙说：“你知道我为什么不喜欢赌博么？”

Xiaolong fragte: „Weißt du, warum ich kein Glücksspiel mag?“

泥巴问：“为什么呀？”

Niba fragte: „Und warum?“

左小龙道：“你不觉得这就是最刺激的赌博么？”

Xiaolong sagte: „Findest du nicht, dass das hier das aufregendste Glücksspiel überhaupt ist?“

泥巴呵呵笑。

Niba lachte.

左小龙：“你知道我为什么不喜欢吸毒？”

Xiaolong: „Weißt du, warum ich keine Drogen nehme?“

泥巴问：“为什么啊？”

Niba fragte: „Warum denn?“

左小龙道：“你不觉得这比吸毒还爽么？”

Xiaolong sagte: „Findest du nicht, dass dies hier cooler ist, als Drogen zu nehmen?“

泥巴问：“什么呀？”

Niba fragte: „Was denn?“

左小龙道：“就是在大雾里开摩托车啊，很刺激的，神经就像要爆掉了一样，等停下来的时候，你不觉得浑身都很舒服么？”

Xiaolong sagte: „Eben im Nebel Motorrad zu fahren. Das ist total aufregend. Die Nerven scheinen gleich zu zerreißen. Wenn man dann anhält, hat man da nicht so ein wohliges Gefühl von Kopf bis Fuß?“

泥巴喃喃道：“对不起哦，我刚才睡着了。”

Niba murmelte: „Entschuldige, ich war gerade eingeschlafen.“

到了镇上，大雾仿佛被满街贪婪的人类吃掉了不少，能见度已经在一百米开外，左小龙把泥巴送到了家，对她说：“上楼吧，你爸爸妈妈肯定不高兴看见你晚回家。”

Als sie in der Kleinstadt ankamen, schien es, als hätten die Menschenmassen, die die Straße unersättlich bevölkerten, den dichten Nebel zum Großteil verschlungen.
Die Sicht betrug nun über 100 Meter. Xiaolong setzte Niba zuhause ab und sagte ihr: „Geh hoch. Deine Eltern sind bestimmt nicht erfreut, dich so spät erst nach Hause kommen zu sehen.“

泥巴说：“我和我爸爸妈妈说了，今天在同学家，不回家了。”

Niba sagte: „Ich habe meinen Eltern gesagt, dass ich heute bei einer Schulkameradin übernachte und nicht nach Hause komme.“

左小龙着急道：“你早说，我把房间都退了。

Xiaolong sagte aufgeregt: „Hättest du das doch eher gesagt, jetzt habe ich das Zimmer schon zurückgegeben.“

泥巴说：“不要紧的，我有钱的。”

Niba sagte: „Das macht nichts, ich habe Geld.“

左小龙生气道：“我怎么能用你的钱，你收着，我想办法。”

Xiaolong sagte verstimmt: „Wie könnte ich dein Geld nehmen, behalt es ruhig, ich überleg mir schon was.“

左小龙其实很矛盾要不要带着泥巴度过这夜晚，因为他觉得自己并不那么喜欢泥巴，这一切就是因为泥巴太喜欢他了，而左小龙隐约觉得，世界上哪有这么便宜的事情呢，哪能让人这么如愿呢。

Eigentlich war Xiaolong in argem Zwiespalt, ob er Niba mitnehmen sollte, um mit ihr die Nacht zu verbringen. Eigentlich verspürte er gar keine so tiefe Zuneigung zu ihr. Das alles war nur so weit gekommen, weil sie ihn zu sehr mochte. Und Xiaolong fühlte undeutlich, dass es auf der Welt keine so einfache Sache geben könne und dass man mit niemandem einfach nach Belieben umspringen dürfe.

但聊胜于无，好歹泥巴也有三十七度的温度，用来取暖或者捂脚是绰绰有余的。左小龙考虑再三，说：“成，那你跟着我吧。”

Aber besser als nichts. Auf alle Fälle hatte Niba auch eine Körpertemperatur von 37 Grad. Es war also mehr als genug, um sich daran zu wärmen oder die Füße zu bedecken. Xiaolong dachte immer und immer wieder darüber nach und sagte dann: „Ok, dann komm‘ mit mir.“

泥巴问：“是……跟着你么？”

Niba fragte: „Ja, … mit dir gehen?“

左小龙道：“对，你就跟了我吧。”

Xiaolong sagte: „Ja, dann komm’ halt mit mir.“

泥巴道：“恩。”

Niba sagte: „Mhm.“

左小龙说：“好，那你就是我的女人了。”

Xiaolong sagte: „Ok, dann bist du jetzt mein Mädchen.“

左小龙带着泥巴在镇上溜达，因为镇区小，所以溜达的速度也得慢点，否则很容易转晕。在路过一家杂货店的时候，左小龙停住了。泥巴问道：“怎么了？

Xiaolong nahm Niba mit auf seinem Streifzug durch die Kleinstadt. Weil das Stadtgebiet klein war, musste man etwas langsamer herumstreunen, sonst konnte einem schnell schwindelig werden. Als sie an einem Lebensmittelgeschäft vorbeikamen, hielt Xiaolong an. Niba fragte ihn: „Was ist denn los?“

左小龙摒住呼吸，道：“你听。”

Xiaolong hielt den Atem an und sagte: „Hör doch.“

店里播放的是激情迪斯科，里面唱到：

Im Laden wurde leidenschaftliche Diskomusik gespielt. Dabei erklangen die Verse:

姐妹出来混啊
只为钓凯子啊
凯子就是笨啊
喜欢吃闷棍啊
凯子若买单啊
给你搀一搀啊
凯子若上路啊
给你露一露啊
凯子若给钱啊
让你摸胸部啊
凯子出手阔啊
才能脱内裤啊
给看不给摸啊
憋死他再说啊
要想再深入啊
就说你行色啊
就说你行色啊
就说你行色
凯子很饥渴啊
问他要部车啊
他要给不起啊
不让他再摸啊
他要很上火啊
送到派出所啊
送到派出所啊
送到派出所

„Mädels, kommt raus und lasst Euch gehen,
nur um Euch einen Freier zu angeln!
Euer Freier ist der dumme!
Er will ausgenommen werden!
Wenn er die Rechnung zahlt,
hilf ihm das Portemonnaie zu zücken.
Wenn er verreist,
betrüge ihn.
Wenn er bezahlt,
lass ihn den Busen anfassen.
Erst wenn er sich verausgabt,
fällt das Unterhöschen.
Nur Angucken, nicht Anfassen!
Wenn er sich nicht bremsen kann,
und noch mehr will,
sag ihm, dass du eine Szene machst,
eine Szene machst,
eine Szene machst.
Lechzt der Freier nach dir,
bitte ihn um ein Auto.
Wenn er es sich nicht leisten kann,
lass ihn nicht mehr ran.
Wenn er dann wütend wird,
schick ihn aufs Polizeirevier,
schick ihn aufs Polizeirevier,
schick ihn aufs Polizeirevier.“
----------

左小龙在旁边听得毛孔放大瞳孔缩小，一步上前去，对店里的老板说：

Als Xiaolong dies hörte, weiteten sich seine Poren, seine Pupillen verengten sich. Er machte einen Schritt vor und sagte zum Laden-Besitzer:

“老板，你得把他关了。”

„Chef, Sie müssen es abstellen.“

老板放下了手中的《湖北高官包养十个女学生》的杂志，道：“你是谁啊？”

Der Ladenbesitzer legte die Zeitschrift mit der Schlagzeile „Die 10 Schulmädchen, die von hohen Kadern aus Hubei ausgehalten wurden“ nieder. Er fragte: „Wer bist du denn?“

左小龙道：“你这店里放的东西让我很不爽，你宣扬的思想是不对的，我不认可，你这个是危害社会的。”

Xiaolong sagte: „Das Zeug, das Sie hier im Laden spielen, finde ich widerlich. Sie propagieren hier eine Gesinnung, die nicht in Ordnung ist. Das billige ich nicht. Sie schaden damit der Gesellschaft.“

老板楞了半天，道：“你是城管麽？”

Der Ladenbesitzer war eine Zeit lang perplex und fragte dann: „Sind Sie vom Ordnungsamt?“

左小龙说：“不是，我叫左小龙，我只是一个公民。”

Xiaolong sagte: „Nein, ich heiße Xiaolong Zuo, ich bin nur ein Bürger.“

老板一屁股坐下，继续边看杂志边嘀咕道：“吓死了我，原来是个公民。”

Der Ladenbesitzer fiel in seinen Stuhl, fuhr fort in der Zeitschrift zu blättern und flüsterte dabei: „Der, der mich hier so erschreckt, ist eigentlich nur ein Bürger.“

左小龙一把夺过唱机，把音乐关了，道：“你的碟我没收了。”

Xiaolong bahnte sich seinen Weg zum CD-Spieler, stoppte die Musik, und sagte: „Ihre CD habe ich nicht einkassiert.“

老板不慌不忙，翻了一页，掏出手机，报了警。

Der Ladenbesitzer wirkte völlig unbeeindruckt, blätterte eine Seite um, nahm sein Handy heraus und rief die Polizei.

正文第四章
闪爵读书ww.shanjue.com:2008-12-16 15:44:53 本章字数:2546
4. Kapitel

警察和协警很快就到了。左小龙坐在摩托车上，泥巴不知所措看着。警察到了左小龙跟前，问：“是不是你抢他CD机？”

Die Polizei und ein Schlichtungsbeamter waren schnell zur Stelle. Xiaolong saß auf dem Motorrad, Niba war ratlos und schaute zu. Der Polizist trat vor Xiaolong und fragte ihn: „Haben Sie seinen CD-Spieler geklaut?“

左小龙道：“你的证件呢？让我看看。”

Xiaolong fragte: „Und Ihr Ausweis? Darf ich den mal sehen?“

虽然左小龙确定站在眼前的是真警察，但是能让警察掏掏证，他心里还是很痛快的。

Zwar war sich Xiaolong sicher, dass vor ihm ein Polizist stand, aber wenn er den Polizisten dazu bringen könnte, seinen Ausweis herauszuholen, ließe das sein Herz höher schlagen lassen.

警察道：“好，到所里去看吧。说着掏出了手铐。”

Der Polizist sagte: „Gut, dann schauen wir ihn uns einmal in der Polizeistation an.“ Er holte seine Handschellen heraus.

左小龙一把推开警察，道：“你知道怎么回事么，你听听他这CD里放的内容。”

Xiaolong stieß den Polizisten zur Seite und sagte: „Wissen Sie, worum es hier geht? Hören Sie sich doch einmal seine CD an.“

警察一下子楞了，政治神经立即崩紧了，想万一这是放的反动口号，岂不是抓错一个。警察立马到了店主面前，道：“放。”

Der Polizist war plötzlich wie gelähmt. Sein politisches Bewusstsein war erwacht. Er dachte: ‚Was wäre, wenn hier tatsächlich konterrevolutionäre Töne erklängen. Dann hätte ich ja den Falschen einkassiert.’ Der Polizist trat sofort vor den Ladenbesitzer und sagte: „Abspielen!“

店主懒洋洋按了播放，迪斯科和说唱又想起。警察一直耐心得听到了“送到派出所”，琢磨了半天，转身对左小龙道：“没问题啊，没反党啊。”

Der Ladenbesitzer drückte lustlos den Knopf. Es erklang wieder Disco- und Rapmusik. Der Polizist hörte geduldig den Vers „Schick ihn aufs Polizeirevier“. Er grübelte ewig darüber, drehte er sich dann zu Xiaolong um und sagte: „Ich sehe da kein Problem, da ist ja
gar nichs gegen die Partei dabei.“

左小龙提高声音道：“这宣扬的不对。”

Xiaolong erhob seine Stimme und sagte: „Das, was da propagiert wird, ist nicht richtig.“

警察满脑子只记得一句，那就是送到派出所。警察道：“送到派出所有什么不对么？好了，这属于民事纠纷，算了，各自干各自的，旁边的也都别看了。”

Der Polizist erinnerte sich nur noch an einen Satz, nämlich: „Schick ihn aufs Polizeirevier“. Er sagte: „Was ist denn nicht richtig an dem Satz ‚Schick ihn aufs Polizeirevier‘? Ok, das ist ein Zivilstreit. Lassen wir das. Jedem wie es ihm beliebt. Hier gibt es auch für die Umstehenden nichts mehr zu sehen.“

左小龙不屈不饶道：“不行，这有危害啊。”

Xiaolong beharrte: „Das geht nicht, das ist schädlich.“

警察道：“有没有危害，我们没有接到上级宣传部门的通知。他在这里放，只要声音不扰民，就是合法的。

Der Polizist sagte: „Ob es schädlich ist oder nicht, dazu habe ich keine Mitteilung von der vorgesetzten Behörde erhalten. Wenn er es hier spielen möchte, ist das legal, solange es nicht zu laut ist.“

左小龙道：“那他扰民了。”

Xiaolong sagte: „Aber er wiegelt die Leute auf.“

店老板问周围的看客：“我这音乐扰民了没有？大家觉得扰不扰？”

Der Ladenbesitzer fragte die Schaulustigen: „Ist diese Musik aufwieglerisch oder nicht? Fühlen Sie sich davon belästigt?“

周围的人笑着道：“不扰。”

Die umstehenden Schaulustigen sagten lachend: „Nein.“

警察说：“你看，你其实才扰民。你要是不想听，你就放个你喜欢的，盖过他的，就得了。”

Der Polizist sagte: „Schau, nur du wiegelst hier die Leute auf. Wenn du es nicht hören willst, kannst du ja eine eigene CD abspielen und seine übertönen, und schon hat es sich.“

说罢，警察一拧油门，开着摩托车离开了，协警级别稍低，开的是电瓶车，吃力的在后面跟随，还蹬两脚踏板作为起步辅助，两人消失在雾色里。

Nachdem er das gesagt hatte, drehte der Polizist den Gasgriff und fuhr mit seinem Motorrad davon. Der Schlichter hatte einen niedrigeren Rang, er fuhr ein Elektrorad und schaffte es kaum, mitzuhalten. Als Starthilfe trat er zusätzlich noch in die Pedale, und dann waren die beiden im Dunst verschwunden.

泥巴推了推左小龙，道：“走吧，别管他们。”

Niba stuppste Xiaolong an und sagte: „Hau’n wir ab, kümmern wir uns nicht mehr um sie.“

左小龙道：“不行，我得管。”

Xiaolong entgegnete: „Das geht nicht, ich muss mich darum kümmern.“

店老板笑道：“你怎么管啊？”

Der Ladenbesitzer fragte lachend: „Na, wie willst du dich denn darum kümmern?“

说完，他又按下了播放，钓凯子之歌又传荡开来。周围看客笑意盎然，有人劝道：“小伙子，算啦。”

Nachdem er das gesagt hatte, drückte er wieder den Abspielknopf, und das Lied vom geangelten Freier dudelte wieder los. Die umstehenden Schaulustigen waren bester Laune. Jemand gab ihm den Tipp: „Bursche, lass es einfach.“

左小龙怔了几秒，突然发动摩托车，挂入空挡，然后拧大油门。瞬间，引擎和排气管的声音盖过了音乐。店老板一楞，不想左小龙还有这招，遂加大音量，但唱片机的音量在发动机面前还是显得调不成调，非常渺小。整个街道只听到左小龙摩托车引擎的高转速声音，仿佛雾气都被驱开了一些，空气也回暖了一些。

Xiaolong war ein paar Sekunden erstarrt, dann plötzlich startete er sein Motorrad, legte den Leerlauf ein und drehte den Gasgriff ordentlich herum. Für einen Augenblick übertönte das Geräusch von Motor und Auspuff die Musik. Der Ladenbesitzer war irritiert. Er hatte nicht damit gerechnet, dass Xiaolong noch dieses Geschütz auf Lager hatte. Auch er drehte die Lautstärke auf, aber die Lautstärke des CD-Spielers konnte es mit dem Motorengeräusch nicht aufnehmen, erschien total mickrig dagegen. In der ganzen Straße war nur das Geräusch des mit hoher Umdrehung rotierenden Motorradmotors von Xiaolong zu hören. Es schien, als wenn der Dunst ein bisschen weggeblasen und die Luft ein bisschen erwärmt würden.

左小龙跨在摩托车上，目光迥然，神情坚定，包括泥巴在内的所有人都诧异的看着如同雕塑一般的左小龙，一时没有了言语。

Xiaolong stand über das Motorrad gespreizt. Sein Gesichtsausdruck war standhaft, ganz anders dagegen die anderen Menschen, Niba eingeschlossen: Sie betrachteten erstaunt den wie eine Skulptur dort stehenden Xiaolong. Für eine Weile sprach niemand ein Wort.

一直过了一分多钟，周围人还没能反应过来。左小龙又用力拧了一下油门，引擎的节气门顿时全开，排气管的咆哮铺天盖地，人群仿佛都被声浪劈了开来。突然间，扑一声巨响，然后是卡拉卡拉的杂音，然后烟雾从他的西风摩托车发动机处腾腾升起，摩托车仪表台上的发动机转速跌到了零，摩托车颤抖了几下后，四周一片死寂，只有唱机里在播放最后一句，送到派出所啊，送到派出所。

Xiaolong schaute in Richtung des CD-Spielers, mit der rechten Hand drückte er den Gasgriff und wollte ihn keinen einzigen Augenblick lang lockern. Seine Brust war hervorgestreckt. Er grinste.
Nachdem so mehr als eine Minute vergangen war, zeigten die Umstehenden immer noch keine Reaktion. Xiaolong drehte noch einmal kraftvoll den Gasgriff durch. Das Luftventil des Motors war auf einmal ganz geöffnet. Das Aufheulen des Auspuffs erschütterte Himmel und Erde. Es schien, als wenn die Menschenmenge vom Lärm zerrissen würde. Plötzlich tat es einen lauten Knall „Bung!“ und danach ein Scheppern „Kalakala“. Dann drang Qualm aus dem Motor seiner Westwind. Der Drehzahlmesser auf der Armatur ging auf Null. Das Motorrad schüttelte sich ein paar Mal. Ringsum war Totenstille, nur aus dem CD-Spieler war noch der letzte Vers zu hören, „Schick ihn aufs Polizeirevier. Schick ihn aufs Polizeirevier.“

几秒钟后，好远处有人哎哟一声，倒在地上。人群开始骚动起来。大家纷纷开始问怎么回事。

Einige Sekunden später hörte man in der Ferne einen Mann laut aufschreien und auf den Boden fallen. Die Menschenmenge begann sich zu regen. Einer nach dem anderen erkundigten sie sich, was eigentlich passiert war.

左小龙蹲下身，对着发动机处看了半天，没能起身。地上已经都是机油。

Xiaolong hockte sich nieder, schaute sich lange den Motor an und konnte einfach nicht mehr aufstehen. Auf dem Boden war überall Motoröl.

泥巴问：“怎么啦？我们的摩托车怎么啦？”

Niba fragte: „Was ist los? Was ist mit unserem Motorrad?“

左小龙低声说：“爆缸了。”

Xiaolong flüsterte: „Explodiert.“

泥巴问：“那为什么有个人摔倒了呢？”

Niba fragte: „Und warum ist dann einer umgefallen?“

左小龙头也没有抬，说，我不知道。

Xiaolong hob noch nicht einmal den Kopf und sagte: „Ich weiß nicht.“

很快，救护车到了，哎哟一声那人捂着脑袋被抬上了救护车。警车又到了，一堆灯光又闪烁开来，左小龙恍惚间好像又回到了和泥巴在旅店的二楼看楼下的情景。警察查了半天，现场没查明白那人是怎么头破血流的，左小龙也没犯什么法，只不过当众爆缸而已，属于产品使用不当。警察再次驱散了人群，人们欢呼着，睡觉去喽。

Schnell war eine Ambulanz da. Der Mann, der „Au!“ gerufen hatte, wurde mit verbundenem Kopf in die Ambulanz geladen. Das Polizeimotorrad kam erneut. Wieder flackerte der Schein verschiedener Lichter. Xiaolong schien wie in Trance wieder im ersten Stock des Hotels zu sein und die Szene unten zu beobachten.
Die Polizei untersuchte lange den Tatort. Sie konnte am Tatort nicht herausfinden, wie sich jener Mann einen blutigen Kopf geholt hatte. Xiaolong hatte auch kein Verbrechen begangen, nur etwas in der Öffentlichkeit explodieren lassen, was aber als unsachgemäße Benutzung galt. Die Polizei trieb die Menschenmenge ein weiteres Mal auseinander und empfahl den Leuten, schlafen zu gehen.

左小龙蹲趴在地上，依靠着被调到最暗的橘黄色路的微光，摸索着把散落周围的引擎部件一片一片拾了起来，满手都是机油，然后让泥巴跑到远处的店里要了一个塑料袋，他将这些残缺的发动机瓦，活塞，曲轴，连杆等东西放进了塑料袋里。但因为金属部件周围都是棱角，塑料袋一下就穿了，这些东西又散落在了地上。泥巴说：“算了。”

Xiaolong kroch auf dem Boden herum. Er war, wenn er sich in die dunkelsten Ecken begab, auf den winzigsten Schimmer des orangen Straßenlichts angewiesen, um die in der Umgebung verstreuten Motorenteile Stück für Stück wieder aufzusammeln. Seine Hände waren voller Motorenöl.
Dann ließ er Niba zu einem entfernten Laden laufen, um eine Plastiktüte zu holen. Er wollte die Bruchstücke von Motorpfannen, Kolben, Kurbelwellen, Pleuel und dergleichen dorthinein tun. Aber weil die Metallstücke alle Ecken und Kanten hatten, riss die Tüte und die Sachen fielen wieder auf den Boden. Niba sagte: „Lass es.“

左小龙低声道：“说不定拼起来还能用呢，泥巴，你帮我找个结实点的袋子。”

Xiaolong flüsterte: „Wer weiß, vielleicht kann man die Sachen noch gebrauchen, wenn man sie wieder zusammensetzt. Niba, besorg mir doch bitte eine etwas stärkere Tüte.“

泥巴又飞奔去了远方，买回一个书包。左小龙把零件们都放到了书包里，拉上拉链，把手在地上搓了搓，推着摩托车，泥巴也在旁边跟着扶着，两人艰难的花了几个小时把摩托车推到了修车铺。在修车铺的门口，左小龙说：“我走不动了，我们就在这里靠一靠。”

Niba rannte noch einmal los und holte von weit her eine Schultasche. Xiaolong tat alle Einzelteile hinein und zog den Reißverschluss zu. Er rieb die Hände am Boden ab und begann das Motorrad zu schieben. Niba stützte von der Seite. Beide verbrachten ein paar mühevolle Stunden damit, das Motorrad zur Werkstatt zu schieben. Am Eingang der Werkstatt sagte Xiaolong: „Ich kann nicht mehr, ruhen wir uns hier ein bisschen aus.“

泥巴说：“恩，就靠这里吧，也挺好的。”

Niba sagte: „Mmh, dann lass uns uns hier anlehnen, das ist doch nicht schlecht.“

左小龙说：“我们可以在这里小小睡一下，一下子，店铺就开门了。”

„Wir können hier auch ein kurzes Nickerchen machen, gleich wird der Laden aufmachen.“

泥巴问道：“那我们的摩托车明天能修好么？”

Niba fragte: „Na, können die unser Motorrad denn morgen reparieren?“

左小龙说：“不知道，我不知道。”

Xiaolong sagte: „Weiß nicht, ich weiß nicht.“

泥巴问道：“你的车是坏了什么呢？”

Niba fragte: „Was ist denn an deinem Motorrad kaputt?“

左小龙提起这个似乎显得不耐烦，道：“发动机。”

Xiaolong schien bei dieser Erwähnung ungeduldig zu werden und sagte: "Der Motor".

泥巴说：“那就那就把它换个新的吧。很贵么。”

Niba sagte: „Na, dann, dann tauschen wir den Motor eben aus. Ist das teuer?“

左小龙说：“不知道。”

Xiaolong sagte: „Ich weiß nicht.“

泥巴问：“你是不是很烦啊？不要紧的，我有钱的，可以帮我们的摩托车换发动机。”

Niba fragte: „Bist du genervt? Mach dir keine Gedanken, ich habe Geld,ich kann dir helfen, den Motor auswechseln zu lassen.“

左小龙说：“不用。”

Xiaolong sagte: „Das brauchst du nicht.“

泥巴说：“不要紧的麽，你的摩托车的发动机是我给你买的，我看见了它会更加高兴的。”

Niba sagte: „Das macht doch nichts. Wenn ich dir den Motor für dein Motorrad kaufe und es später sehe, freue ich mich umso mehr.“

左小龙说：“不用。”

Xiaolong sagte: „Das brauchst du nicht.“

旁边公路上正好开过一台卡车，卡车的灯光扫过左小龙的西风摩托，摩托车还在往下滴着机油。左小龙忍不住心头一酸，他觉得他最要好的伙伴快死了，眼泪差点落下，他赶紧把头盔戴了起来，将罩子罩下。泥巴问到：“干嘛呢，大半夜的戴着头盔。”

Auf der benachbarten Landstraße fuhr gerade ein Lastwagen vorbei. Der Scheinwerfer strich über Xiaolongs Westwind. Das Motorrad verlor immer noch Motoröl. Xiaolong konnte den Schmerz im Herzen nicht mehr ertragen. Es war ihm, als wäre sein bester Kumpel fast gestorben. Es kamen ihm fast die Tränen. Er setzte schnell den Helm auf, um es zu verdecken. Niba fragte ihn: „Was machst du denn da, setzt mitten in der Nacht den Helm auf.“

左小龙道：“我打呼，怕吵你，快睡。”

Xiaolong sagte: „Ich schnarche, und habe Angst, dich zu stören, schlaf jetzt.“

泥巴起身要摘左小龙的头盔，说道：“不要紧的不要紧的，我是你的女人麽，你的手脏成这样我都准你搂着我，我来帮你摘……”

Niba stand auf und wollte Xiaolongs Helm abnehmen. Sie sagte: „Das macht doch nichts, das macht doch nichts. Ich bin dein Mädchen. Deine Hände sind so dreckig und ich lasse dich mich doch umarmen. Ich helfe dir mal, den Helm abzunehmen …“

左小龙打断道：“睡觉。”

Xiaolong unterbrach sie: „Schlaf jetzt.“

正文第五章
闪爵读书ww.shanjue.com:2008-12-16 15:45:54 本章字数:1108
5. Kapitel

天很快亮起来。修车铺始终没有开门，街上人群开始密集，人们一副精神模样，左小龙疲惫不堪，眼看怀里的泥巴还长睡不醒，只得再等。新到来的一天是一个阴天，因为阳光丝毫没有要洒下的摸样，风把春天吹得像秋天一样，连嫩绿的叶子都落下几片，老天就像打了很厚的粉底。左小龙本来很想嘘嘘，泥巴的脑袋又压在他的膀胱位置，让他更加难受，但他见泥巴睡的投入，实在不忍心叫醒，而且觉得把泥巴叫醒后第一句话就是“我要嘘嘘”显得自己毫无英雄气概，思前想后，一筹莫展。

Es wurde schnell hell. Die Werkstatt hatte immer noch nicht geöffnet. Es gab schon viele Menschen auf der Straße. Die Menschen erschienen munter.
Xiaolong war hundemüde. Er betrachtete die noch nicht erwachte, lange schlafende Niba in seinen Armen und konnte nur weiter warten.
Der neue Tag war bewölkt. Weil das Sonnenlicht nicht die leisesten Anstalten machte, durchzuschimmern, blies der Frühlingswind wie im Herbst. Selbst einige hellgrüne Blätter fielen herunter. Der Himmel schien eine dicke Grundierung aufs Gesicht aufgetragen zu haben.
Xiaolong musste eigentlich dringend. Nibas Kopf drückte auch noch auf seine Blase. Dadurch fühlte er sich noch unbehaglicher. Aber als er Niba so tief und fest schlafen sah, brachte er es nicht über sich, sie aufzuwecken. Er dachte, dass wenn er sie aufweckte und der erste Satz wäre, dass er mal müsse, so wäre das wohl wenig heldenhaft. Nachdem er das hin und her überlegt hatte, wusste er auch nicht mehr, was er machen sollte.

这时候，泥巴突然动了几下，左小龙激动得好比孕妇感到胎动，他顺势把泥巴叫醒。泥巴醒来迷迷糊糊，张开眼睛看着四周，一副茫然，然后聚焦到左小龙身上，嘟着嘴对他说：“我要嘘嘘。”

Da bewegte sich Niba auf einmal einige Male. Xiaolong war so aufgeregt wie eine Schwangere, die Kindsbewegungen spürt. Er ergriff diese günstige Gelegenheit, um sie aufzuwecken. Niba erwachte und war im Halbschlaf. Sie öffnete die Augen und schaute sich überall um. Alles erschien noch unscharf. Dann stellte sie auf Xiaolongs Körper scharf und stülpte die Lippen vor. Sie sagte zu ihm: „Ich muss mal.“

左小龙镇定道：“我带你去，帮你看着外面。”

Xiaolong sagte gelassen: „Ich bringe dich hin und stehe Wache.“

两人到了旁边的转角，左小龙假装站守转角，赶紧抓紧时间方便，然后又赶紧收了起来，慌忙之中，还嘘到了自己手上，左小龙眼看四周没有什么地方可以冲水，又在地上搓了搓，仔细一看，昨天满手污黑的机油还被冲干净了一些。

Die beiden gingen um die nächste Ecke. Xiaolong tat so, als ob er Wache stünde. Er packte die Gelegenheit und erleichterte sich, dann beeilte er sich wieder mit dem Zurückstecken. In der Eile hatte er sich auf die Hand gepinkelt. Xiaolong schaute sich überall um. Es gab keine Waschmöglichkeit, so dass er die Hand wieder auf dem Boden rieb. Als er näher hinschaute, sah er, dass die Ölschwärze von gestern schon etwas abgegangen war.

这时候，泥巴也解决好了，披头散发过来，问道，你不要嘘嘘么？

Da war auch Niba mit ihrem Geschäft fertig, und kam mit zerzaustem Haar zurück, sie fragte: „Musst du nicht auf Toilette?“

左小龙说：“不要紧，不要了。”

Xiaolong sagte: „Mach dir darüber keine Gedanken, ich muss nicht.“

泥巴顿时又提升了崇拜之心。在影视节目里，偶像和英雄一般都是不上厕所的。

Niba war sofort wieder voller Bewunderung. In Film und Fernsehen müssen Idole und Helden grundsätzlich nicht auf Toilette.

左小龙和泥巴来到了西风摩托前，泥巴突然伤心得问：“它是死掉了么？”

Xiaolong und Niba kamen bei der Westwind an. Niba fragte plötzlich schmerzlich berührt: „Ist sie tot?“

左小龙道：“你们女人就是的，这不过是个机器，发动机不过是机器的机器，现在机器的机器坏了，那就换了机器，就跟你的圆珠笔没芯了一样。”

Xiaolong sagt: „Was Ihr Frauen auch immer habt! Das ist nur eine Maschine. Der Motor ist nur die Maschine der Maschine. Jetzt ist die Maschine der Maschine kaputt. Na, dann tauscht man eben die Maschine aus. Das ist wie wenn dein Kugelschreiber keine Tinte mehr hat.“

左小龙接着问到：“你该上课去了。”

Dann sagte Xiaolong: „Du musst zur Schule.“

泥巴点点头。

Niba nickte.

左小龙问：“你就这样去？”

Xiaolong fragte: „Willst du hingehen, so wie du bist?“

泥巴依然点点头。

Niba nickte erneut.

左小龙说：“唉，和你在一起就倒霉了，不过这不怪你。你先走吧。”

Xiaolong sagte: „Oh, wenn man mit dir zusammen ist, hat man wirklich Pech. Aber du kannst nichts dafür. Na, geh.“

泥巴问到：“那你什么时候再来看我？”

Niba fragte: „Na, wann willst du mich denn wiedersehen?“

左小龙说：“等……摩托车修好的时候吧。”

Xiaolong sagte: „Warten wir doch … bis das Motorrad repariert ist.“

泥巴连忙接话到：“会不会修不好啊？”

Niba fragte sofort zurück: „Kann es sein, dass es irreparabel kaputt ist?“

左小龙说：“不会，很快的。”

Xiaolong sagte: „Nein, das geht schnell.“

泥巴安心道：“那你一定要很快修哦，我这里有钱的，你让他们换个新的机器么，这样最快了。”

Niba sagte erleichtert: „Na, dann reparier es mal schnell. Ich habe hier Geld. Lass den Motor austauschen, so geht es am schnellsten.“

左小龙没有回答，对着泥巴挥了挥手。泥巴回头看了两眼，又看了看摩托车，依依不舍离开了

Xiaolong antwortete nicht, winkte Niba nur. Niba wandte den Kopf zu ihm und schaute in seine Augen. Dann schaute sie sich das Motorrad an. Sie konnte sich nur schwer losreißen. Schließlich ging sie.

左小龙觉得浑身轻松很多，可以随意舒展身体。但是摩托车爆缸了，左小龙就觉得自己的力量不够了，对泥巴也突然间失去了信心，而本来他是假装足够强大的，这台老摩托车也足够给他带来力量的，可眼前，哎，这感觉就好比印度的航空母舰沉到了海里。

Xiaolong fühlte die Erleichterung am ganzen Körper, er konnte sich wieder nach Belieben strecken. Aber das Motorrad war explodiert. Xiaolong fühlte auf einmal, dass seine Kraft nicht groß genug war. Auch in Niba hatte er plötzlich sein Vertrauen verloren. Ursprünglich hatte er nur vorgespielt, stark genug zu sein, dieses alte Motorrad hatte ihm auch ausreichend Kraft gegeben. Aber wie es da so vor ihm stand – oje, es fühlte sich an, wie ein indisches Flugzeug, das im Meer versank.

正文第六章
闪爵读书ww.shanjue.com:2008-12-16 15:47:26 本章字数:1195
6. Kapitel

经过修理店的会诊，摩托车的引擎已经不能修复，只能换一台新的，新的发动机只能整个从市场上去找，如果再没有就从日本的旧配件市场上去买，少则一个星期，多则一个月，这台引擎需要五千元。

Nach Auskunft der Werkstatt war der Motor irreparabel kaputt und konnte nur durch einen neuen ersetzt werden. Auf dem Markt konnte man nach einem ganzen neuen Motor suchen. Wenn man dort keinen fand, musste man ihn auf dem japanischen Gebrauchtmarkt kaufen. Es dauerte bestenfalls eine Woche, schlimmstenfalls einen Monat. Dieser Motor kostete 5000 Yuan.

于是，左小龙找到了一份兼职的工作。其实看守雕塑园只需要大帅一个人就可以了，左小龙平时也是在外面瞎溜达，因为雕塑园实在是没有什么值钱的东西，唯一值钱的就是这块地，但又偷不走，平时最多也就是来几个野合者，有开汽车的和路过的，左小龙也从来不打扰，看到就绕道走，所谓宁拆一座庙，不拆一门亲，人家野合一下，只要避孕套和纸巾不乱扔，就不会对社会造成任何危害，你因为得到了一点权利就要求对方拔出，是很不人道的。都是打工的，何必把自己的名声搞的像联防队和城管一样臭呢。但是大帅在这方面和左小龙不一样，大帅都会毫不留情的用手电锁定野合者，然后问道：干什么呢。大帅觉得问出这句话的时候觉得自己很爽。当然很爽，人家正在那有意无意的制造生命，你突然一个晴天霹雳，那就等于间接扼杀生命，杀人不用偿命自然爽。在这点上，左小龙和大帅有很大的分歧，左小龙一直觉得，这是好事，但大帅一直觉得，这必须阻止，至少在我的地盘上不行。

Deshalb suchte sich Xiaolong einen Nebenjob. Tatsächlich brauchte man ja für das Bewachen des Skulpturenparks nur Da Shuai Xiaolong trieb sich sowieso normalerweise draußen herum, da es im Skulpturenpark wirklich nichts von Wert gab. Das einzige, das etwas wert war, war jenes Stück Land, aber das konnte man nicht stehlen.
Für gewöhnlich kamen ohnehin nur ein paar, die Sex im Freien haben wollten. Einige im Auto, andere zu Fuß. Wenn Xiaolong welche sah, störte er sie auch nie. Er machte einen großen Bogen um sie. Lieber einen Tempel abreißen, als das Gebäude eigener Verwandter. Wenn Leute im Freien miteinander schliefen, fügten sie der Gesellschaft keinen Schaden zu, solange sie ihre Kondome und Tücher nicht überall herumliegen ließen. Nur weil du ein bisschen Macht hast, kannst du die Leute doch nicht auffordern, ihn rauszuziehen. Das wäre wirklich unmenschlich. Alle waren ja nur am arbeiten. Es gab keinen Grund, den eigenen Ruf so zu ruinieren, wie die Volksmiliz oder wie städtische Aufsichtsbeamte.
Da Shuai unterschied sich in dieser Hinsicht von Xiaolong. Er leuchtete die Outdoor-Paare gnadenlos mit einer Taschenlampe an und fragte: „Ja, was machen Sie denn da?“ Da Shuai fühlte sich in diesem Moment cool. Natürlich war das sehr cool. Die Leute dort waren ja gerade bewusst oder unbewusst dabei, ein neues Leben zu schaffen. Und plötzlich tauchst du wie ein Blitz aus heiterem Himmel auf. Das war ja indirekt so, als wenn du jemanden ermordest. Einen Mord zu begehen und sein eigenes Leben dafür nicht einsetzen zu müssen, das war natürlich cool. In diesem Punkt unterschieden sich Xiaolong und Da Shuai gänzlich. Xiaolong dachte immer, dass es eine gute Sache sei. Da Shuai dachte immer, dass man das unterbinden müsse. Zumindest duldete er es nicht in seinem Territorium.

大帅打比方说，这就好比有天你在家里走，突然发现有人在你的客厅里乱搞，你能不能接受？

Da Shuai brachte das Beispiel, wenn du eines Tages zu Hause bist, und plötzlich jemand in deinem Wohnzimmer herummacht – könntest du das akzeptieren?

左小龙的意思是，这又不是你家。

Xiaolong war der Meinung, dass der Park ja nicht sein Zuhause war.

大帅说：那这是我的地。

Da Shuai sagte: „Na, dies hier ist doch mein Land.“

左小龙说：你哪有地，哪有属于你的家，哪有属于你的地。所以，算了。

Xiaolong sagte: „Wo hast du denn Land? Das soll dein Zuhause sein? Wo gehört dir denn Grund und Boden? Also, lass gut sein.“

除此以外，两人因为看守同一片土地而惺惺相惜，因为他们都觉得凭借自己的能力，怎么只能做一个废弃土地的看守员呢。但这其实是好差事，在这个世界上，你能和一堆不
会吃你的动物在一起，而且不用喂他们，每个月还有钱拿，说明这是自然健康的职业。左小龙找到的兼职工作是在亭林镇上有一家很小的温度计厂里，这个温度计厂的任务是……生产温度计。左小龙是最后一道程序，就是包装和测试温度计。等于质量总监，就是把生产出来的温度计放在自己嘴里，看看是不是三十七度。左小龙的体温是正常的三十七度，这点一度让他觉得很难过，因为他觉得自己的体温应该异常于常人，以前上小学的时候测温度，班级里有一个同学常年是三十五度五，同学们都很诧异，左小龙很羡慕，左小龙在小学的时候曾经刻意要营造过自己有与众不同的体温，他尝试用牙齿咬着温度计，舌头和口腔内壁不去碰到，结果还是三十七度，丝毫不差，说明他的口气都是三十七度。

Außer in dieser Situation achteten sich die beiden. Zum einen bewachten sie beide dasselbe Stück Land, zum anderen dachten beide, dass sie sich auf ihre
eigenen Fähigkeiten verlassen konnten. Wie konnte man nur Wachmann eines verlassenen Stück Landes sein. Aber das war tatsächlich eine schöne Sache, auf dieser Welt mit einem Haufen Tiere zusammen zu sein, die dich nicht auffressen. Und man musste sie noch nicht einmal füttern. Einmal im Monat gab es auch noch Geld dafür. Das bedeutete, dass es ein natürlicher, gesunder Beruf war.
Der Nebenjob, den Xiaolong fand, war in einer kleinen Thermometerfabrik in Pavillonwald. Deren Aufgabe war es … Thermometer zu produzieren. Xiaolong erledigte den letzten Arbeitsschritt, die Thermometer zu testen und einzupacken. Er war also der Generalinspekteur der Qualitätssicherung. Das bedeutete, dass er sich nur das Thermometer in den Mund steckte und schaute, ob es 37 Grad anzeigte.
Xiaolongs Körpertemperatur betrug normale 37 Grad. Dieser Punkt machte ihn einmal sehr traurig. Er dachte, dass er eine andere Körpertemperatur als normale Menschen haben müsse. Wenn man früher in der Grundschule die Temperatur maß, gab es in der Klasse einen Mitschüler, der über Jahre hinweg immer 35,5 Grad hatte. Die Mitschüler waren erstaunt, und Xiaolong bewunderte es.
Er strebte in der Grundschule immer danach, eine andere Körpertemperatur als die Mitschüler zu bekommen. Er versuchte, das Thermometer mit den Zähnen einzuklemmen, so dass es weder Mundhöhle noch Zunge berührte. Das Ergebnis war immer noch 37 Grad. Es gab kaum einen Unterschied. Das hieß, dass auch seine Atemluft 37 Grad warm war.

为了增加工作的进度，左小龙做了一个研究，他得知腋下和肛门的温度也是三十七度，所以他经常口含五支，每个腋下各夹五支，肛门里再插上五支，他称这是把自己用到了极限。每次把温度计从身体的各个位置拔出以后，他都仔细查看温度和做工，确定无误后用纸巾一抹，包装起来，往全国各地发货。

Um das Arbeitstempo zu beschleunigen, führte Xiaolong Forschungen durch. Er musste wissen, ob die Temperatur unter der Achselhöhle und im After auch 37 Grad war. Also hatte er oft fünf Thermometer im Mund, unter jeder Achselhöhle fünf und im After auch noch fünf. Das nannte er dann das maximale Einbringen seiner Person.
Immer wenn er die Thermometer aus den verschiedenen Stellen seines Körpers herauszog, schaute er sich sorgfältig die Temperatur und die handwerkliche Arbeit an. Wenn er feststellte, dass es keine Mängel gab, putzte er die Thermometer mit einem Taschentuch ab, packte sie ein und verschickte sie ins ganze Land.

做三个月这份工作就可以买到一个引擎。

Wenn er diese Arbeit drei Monate machte, konnte er sich schon einen neuen Motor kaufen.

=Han_Han_Ta_de_guo_2 刘子威 Liu Ziwei=
在雕塑园里，左小龙找到大帅，左小龙说：大帅，我上次说，有件事情要找你。

Im Skulpturenpark traf Zuo Xiaolong Da Shuai und sagte: „Da Shuai, ich habe doch letztes Mal gesagt, ich hätt' eine Sache, wegen der ich dich aufsuchen wollte.“

大帅看守着雕塑园说：我忘记了。

Da Shuai bewachte den Skulpturenpark und sagte: „Hab' ich vergessen.“

左小龙说：你就打算一直在这里看守雕塑园？
Zuo Xiaolong sagte: „Hast du vor, dein Leben lang den Skulpturenpark zu bewachen?“

大帅说：我觉得挺好的，我没觉得自己有什么野心非得干出个什么事业来，我每天什么都不用干，钱也不算少，我不想丢这个工作。

Da Shuai sagte: „Ich finde das recht gut, ich habe keine Ambitionen, irgendetwas unternehmen zu müssen. Ich brauche den ganzen Tag über nichts zu tun. Die Bezahlung ist nicht schlecht. Ich möchte diese Arbeit nicht verlieren.“

左小龙说：你不会丢这个工作，但是我们可以搞一个合唱团，这就是上次我要和你说的事，我们有地，你看，我们有地，我们弄一个合唱团，一个月后，有一个合唱比赛，我们去参加，肯定能赢。

Zuo Xiaolong sagte: „Du wirst diese Arbeit nicht verlieren. Aber wir können einen Chor gründen. Das ist es, was ich dir letztes Mal sagen wollte. Wir haben Platz, schau, wir haben Platz. Machen wir einen Chor auf. In einem Monat gibt es einen Chor-Wettbewerb. Wir nehmen teil und gewinnen bestimmt.“

大帅问：有什么奖品？
Da Shuai fragte: „Was gibt’s denn zu gewinnen?“

左小龙道：你眼光看太近，有荣誉啊，还有一帮兄弟啊。

Zuo Xiaolong sagte: „Du brauchst mehr Weitblick! So ein Sieg ist eine Ehre, und man hat noch eine Gruppe Kumpel um sich.“

大帅又问道：要兄弟做什么？
Da Shuai fragte: „Wozu brauchen wir denn Kumpel?“

左小龙道：你想，我从小想做个指挥，合唱团指挥，现在有这个机会，我们有地方，我们有这么大的地，可以训练，还能发展，还有这么多弟兄，平时做什么都听你的，我……我们就把这个雕塑园搞得像一个小的国家一样，说不定还能搞出个些什么产业来，我们就能赚到钱，当然，赚钱不赚钱不是最重要的，最重要的是，这不能只有野鸡野鸭啊，这里有多么好的土壤。

Zuo Xiaolong sagte: „Schau doch mal, ich wollte von klein auf ein Dirigent sein, ein Chor-Dirigent. Jetzt ist die Chance da. Wir haben Platz. Wir haben so viel Platz, dass man trainieren kann. Wir können auch expandieren, und wir haben auch viele Kumpel, die für gewöhnlich darauf hören, was du sagst. Ich … wir verwandeln diesen Skulpturenpark einfach in ein eigenes Land. Wer weiß, vielleicht können wir auch noch eine paar Industrien ansiedeln, dann können wir Geld verdienen. Natürlich steht das nicht im Vordergrund, ob wir Geld verdienen oder nicht. Am wichtigsten ist, dass auf diesem so schönen Grund und Boden nicht nur Wildhühner und Wildenten rumlaufen.“

大帅疑惑道：那你自己弄就行了呗，我又不会唱歌。

Da Shuai sagte zweifelnd: „Na, dann mach das doch selbst und gut ist’s. Ich kann ja noch nicht einmal singen.“

左小龙说：一起弄么，都是兄弟，一起来喽。

Zuo Xiaolong sagte: „Lass uns das zusammen machen. Wir sind doch Brüder. Gemeinsam, ja?“

大帅坚持疑惑：我为什么死活要拉我一起弄呢？

Da Shuai blieb bei seiner Skepsis: „Warum sollte ich mich um’s Verrecken in so was reinziehen lassen?“

左小龙想半天说：要不，你多孤独啊。说罢自己一声鸡皮疙瘩，左小龙死活要把大帅拉进来的原因是，他判断，大帅是个安全的人，但为了他别说漏嘴，所以必须要把他绑在一起。

Zuo Xiaolong dachte lange nach und sagte dann: „Wenn nicht, bist du total einsam.“ Als er das gesagt hatte, bekam er eine Gänsehaut. Er wollte Da Shuai unbedingt mit im Boot wissen, weil er Da Shuai zwar für eine vertrauenswürdige Person hielt, aber er keinesfalls etwas ausplaudern durfte. Also musste er ihn miteinbinden.

雕塑园正近黄昏，各种动物的鸣叫响成一片。左小龙说：我们先要十个人，就叫亭林镇合唱团，还有一个月的时间训练起来，一定没有问题。

Im Skulpturenpark dämmerte es schon bald, die Rufe der verschiedenen Tiere bildeten ein Konzert. Zuo Xiaolong sagte: „Zunächst mal brauchen wir zehn Leute, wir nennen den Chor einfach Tinglin-Chor. Wir haben noch einen Monat Zeit zum Proben, das reicht bestimmt.“

左小龙说：那人从哪里来。

Da Shuai fragte: „Woher willst du die Leute nehmen?“

两人在蛙叫虫鸣中沉默了半饷。

Die beiden saßen eine lange Zeit schweigend inmitten von Froschgequake und Insektengezirpe.

左小龙说：这样，你看，用学生肯定要比较好一点，我们去找小学生，小学生的感染力比较强，小学生容易得奖。我们去小学门口，看看谁被人家欺负了，咱俩过去，伸张正义，把人赶跑，再要求他加入合唱团，有了组织，有了社团，就不会被人欺负了。

Zuo Xiaolong sagte: „Schau, machen wir es so: Wenn wir Schüler nehmen, ist das ein bisschen besser. Wir suchen Schüler. Die Überzeugungskraft von Grundschülern ist recht groß, für Grundschüler ist es leicht, Preise zu gewinnen. Wir gehen einfach zum Eingang der Grundschule und schauen, wer von den anderen schikaniert wird. Dann gehen wir beide hin, stellen die Gerechtigkeit wieder her und retten ihn. Dann bitten wir ihn beim Chor mitzumachen, denn wenn er eine Gruppe hat, er eine Organisation hat, wird er nicht mehr von den anderen gehänselt.“

大帅说：可以，可以。

Da Shuai sagte: „Gut, gut.“

左小龙道：现在就走，抓紧时间，我开你的摩托车，你坐着。

Zuo Xiaolong sagte: „Dann gehen wir gleich los, nutzen wir die Zeit. Ich fahre dein Motorrad, du sitzt hinter mir.“

左小龙重新跨上摩托，意气风发，带着大帅到了小学边上，俩人守候半天，没看见一个小学生。左小龙问：怎么回事？是不是放学了？

Voller Tatendrang setzte sich Zuo Xiaolong wieder auf das Motorrad, er fuhr mit Da Shuai zur Grundschule und beide warteten eine halbe Ewigkeit, sahen aber keinen Grundschüler.
Zuo Xiaolong fragte: „Was ist denn los? Ist gar keine Schule?“

大帅一琢磨，道：不对，今天是礼拜天。

Da Shuai dachte kurz nach und sagte: „Ach nein, heute ist Sonntag.“

左小龙道：上车，我们在镇上溜达溜达，把目标放长远一些，不一定非得小学生的。

Zuo Xiaolong sagte: „Sitz auf, cruisen wir ein bisschen in der Stadt herum und erweitern unsere Zielgruppe ein wenig. Wir brauchen nicht unbedingt einen Grundschüler.“

两人坐上摩托车，在镇上穿梭。突然间，左小龙停车了。左小龙把车熄火，道：听。

Die beiden setzten sich wieder aufs Motorrad und durchkämmten die Stadt mehrfach. Plötzlich hielt Zuo Xiaolong an. Er stellte den Motor ab und sagte: „Hör mal!“

大帅凝神倾听。

Da Shuai lauschte aufmerksam.

风里传来歌声：

Der Wind trug den Klang eines Liedes herüber:

绿草苍苍，白雾茫茫

„Wiese, endloses Grün. Wolkenwelten lichtweiß.

有位佳人，在水一方

Eine Schöne – am anderen Ufer.

绿草萋萋，白雾迷离

Das grüne Gras wächst. Der Nebel, grauweiß, wird dichter.

有位佳人，依水而居

Am Wasser, dort, wohnt die Schöne

我愿逆流而上

Meine Sehnsucht wandert der Quelle entgegen, und sucht

依偎在她身旁
nur sie, schmiegsam und zart.

无奈前有险滩
Selbst wenn versperrt der Weg,

道路又远又长

– der Weg so weit.

我愿顺流而下

Meine Sehnsucht wandert der Mündung entgegen, und sucht

找寻她的方向

ihre Spur. – Und sie

却见依稀放佛

fern, verschwommen:

她在水的中央
Mitten im Fluss.

正文第八章
Kapitel 8

左小龙说：你看，多好听，唱的还是唐诗三百首。
Zuo Xiaolong sagte: „Schau, wie gut das klingt. Und dann auch noch ein Lied aus den 300 Tang-Gedichten.“[ Es handelt sich um ein Gedicht aus dem Buch der Lieder.]

这歌声越来越近，一个姑娘开着小踏板路过两人面前。

Der Gesang war immer näher gekommen, ein Mädchen fuhr auf einem kleinen Roller an den beiden vorbei.

左小龙说：你听，多好看。

Zuo Xiaolong sagte: „Hör doch. Und so hübsch!“

大帅定睛一看，说，这个女人我认识。
Da Shuai starrte sie an und sagte: „Die kenn’ ich doch.“

小的地方就是这样，一个女人若然出众，在成熟之后肯定会声名远播，这个声名还不需要新闻的炒作，只靠人口传播，很实打实，这个女孩可以催进当地青年荷尔蒙的分泌，让他们的聊天话题有个落脚点，一直到她远走高飞。真正的尤物总是属于大城市的，属于全人类的，属于……反正不属于你我的。

Kleinstädte sind nun einmal so. Wenn ein Mädchen heraussticht, wird es bestimmt überall bekannt sein, bevor es erwachsen ist. Diesen Ruf braucht man nicht noch extra mit Nachrichten zu fördern. Man braucht sich nur auf die Mund-zu-Mund-Propaganda der Bevölkerung zu verlassen. Man kann sich darauf verlassen, dass dieses Mädchen bei der örtlichen Jugend zu Hormonwallungen führt und zum Gesprächsthema wird, bis sie längst entschwunden ist. Die wirklich seltenen Schönheiten gehören der Großstadt, der ganzen Menschheit, der … auf jeden Fall gehörten sie nicht dir und mir.

大帅因为听了大帅一句“这个女人我认识”，下意识的看了大帅的脸，错过了定睛的机会，但是左小龙还有机会，因为大帅的摩托车要比这姑娘的踏板车快一些，况且左小龙得以听了这么多句，说明姑娘开的真的很慢，这样一方面得以巡展，一方面也可以保持芳容。左小龙开着大帅的摩托车跟随了上去，左小龙镇定的超过的小踏板，看了一眼。姑娘很享受这一眼。左小龙通过这一眼也想起了她是谁，早在两年前的大礼堂，左小龙就很喜欢她，她就是黄莹。

Zuo Xiaolong hatte Da Shuais Satz „Die kenn’ ich doch.“ gehört, Da Shuai unvermittelt angeschaut und die Gelegenheit verpasst. Aber Zuo Xiaolong hatte noch eine Chance, weil Da Shuais Motorrad etwas schneller war als der Roller des Mädchens. Darüberhinaus hatte Zuo Xiaolong viele Verse hören können. Das bedeutete, dass sie wirklich sehr langsam fuhr. So konnte sie sich sowohl beim Fahren gemütlich umschauen, als auch gleichzeitig eine schöne Haltung bewahren. Zuo Xiaolong folgte ihr mit Da Shuais Motorrad. Er überholte gleichmütig den Roller und riskierte einen Blick. Das Mädchen genoss den Blick. Auch Zuo Xiaolong fiel bei diesem Blick wieder ein, wer sie war. Vor zwei Jahren im großen Hörsaal hatte sich Zuo Xiaolong in sie verguckt, es war Chrysanthemenglanz.

正文第九章
Kapitel 9

每个男的在岁月里都存在两个女人的幻想，一个清纯，一个风骚。当然，这得是两个女人，而不是一个女人的结合，虽然有人的确能把这两者结合的很好，但关键是，她还是一个人，而男人总是希望什么都有两个。黄莹是这样的一个姑娘。在普通人眼里，他一看就是个风骚的人，而事实上，她的确就是个风骚的人。风骚的人会让全世界所有刚和她聊过一句的人都觉得有戏，并想入非非。

Jeder Mann entwickelt im Laufe der Zeit zwei Vorstellungen von idealtypischen Frauen, die Unschuldige und die Liederliche. Natürlich bekommt man so zwei Frauen, und nicht eine Frau, die beides in sich vereint. Zwar gibt es Frauen, die die beiden Seiten sehr gut kombinieren können, aber die Krux ist, dass sie nur eine Frau sind, Männer von allem aber immer gerne zwei haben möchten. Chrysanthemenglanz ist so ein Mädchen. In den Augen gewöhnlicher Menschen ist sie auf den ersten Blick ein liederlicher Mensch. Sie ist tatsächlich ein liederlicher Mensch. Liederliche Frauen können die ganze Welt, sobald man nur einen Satz mit ihnen geplaudert hat, glauben machen, dass sie sich Hoffnung machen können, und sie in Phantasien treiben.

黄莹是这里的交际花，在每个需要交际的场合里都会有她的出现，在这个镇上，每到冬天都会有一个新年的歌舞大会，文艺是这个镇子的特色，因为这个镇子早先有一个声名远播的文艺项目——黄花村农民戏，这是一个昆剧的变种，最早起源于1955年，当地负责丰富群众文化生活的村姑黄小花学习了昆剧以后将昆剧教授给当地的其他村姑，但因为黄小花天资愚笨，能力低下，音乐细胞欠缺，所以在传播的过程中产生的走样……不过话说回来，基本上新生艺术都是学习和传播过程走样的产物，而且在当时，黄小花是名党员，所以，村姑们都学习的很认真，并且在当年的文艺演出中表演了一出从来没人见识过的……东西，这个山寨版戏剧倒是很贴合劳动人民的文艺现状——他们得到的永远都是走样的文艺，从那以后，这个戏曲形式马上开始流传一方，到后来，它被称为黄花戏，一度和黄梅戏齐名，被称为“双黄”，而这个村也被改名为黄花村。

Chrysanthemenglanz war der hiesige ‚soziale Schmetterling’. Das sind Frauen, die bei allen Anlässen auftauchen, bei denen Kommunikation erforderlich ist. In dieser Stadt gab es jeden Winter einen großen Neujahrsball. Literatur und Kunst sind die Besonderheit dieses Städtchens. Dieses Städtchen hatte nämlich früher einen weithin bekannten Ruf durch sein künstlerisches Projekt – die Bauernoper des Chrysanthemen-Dorfes. Es war eine Variante der Kunqu-Oper, die hier 1955 entstand. Das Dorfmädchen Kleine Chrysantheme war auf kommunaler Ebene verantwortlich für das reichhaltige Kulturleben der Massen. Nachdem es die Kunqu-Oper gelernt hatte, sollte es den anderen Dorfmädchen Kunqu-Dramen beibringen. Aber weil Kleine Chrysantheme etwas ungeschickt, ihre Fähigkeiten begrenzt und ihr Musikgefühl ungenügend waren, traf sie die Töne bei einer Ausstrahlung nicht ganz … aber was soll ich sagen, die neuen Schüler lernten alle die Kunst anhand der Abweichung in der Ausstrahlung. Damals war Kleine Chrysantheme ein bekanntes Parteimitglied, deshalb lernten die Mädchen alle sehr gewissenhaft, und boten in der Show jenes Jahres eine … Darbietung, die niemand zuvor gesehen hatte. Diese raubkopierte Oper integrierte sich nahtlos in die damalige Literatur- und Kunst-Situation der arbeitenden Bevölkerung. Sie waren seit jeher deformierte Literatur und Kunst gewöhnt. Damals verbreitete sich diese Form der Kunqu-Oper rasch. Später wurde sie Chrysanthemen-Oper genannt. Sie erfreute sich eine zeitlang der gleichen Beliebtheit wie die Pflaumen-Oper, wegen der gemeinsamen gelben Farbe von Chrysantheme und Pflaume wurden sie zusammen „die beiden gelben Opern“ genannt. Und das Dorf benannte sich auch um in Chrysanthemen-Dorf.

正文第十章
Kapitel 10

从那以后，这个戏曲形式马上开始流传一方，到后来，它被称为黄花戏，一度和黄梅戏齐名，被称为“双黄”，而这个村也被改名为黄花村。

Deshalb mochte die Dorfverwaltung über Generationen hinweg das Aushängeschild „Literatur und Kunst“. Sie veranstaltete oft alle möglichen Arten von Wettbewerben, die mit Literatur und Kunst zu tun hatten. Sie dachte sich auch die Parole aus: „Wenn Literatur und Kunst ihren Auftritt haben, spielt auch die Wirtschaft eine Rolle.“ Diese Parole verstieß gegen alle guten Sitten. Sie wurde im ganzen Land in heruntergekommenen Gegenden beliebt.

所以说，这个镇子的历代政府都很喜欢“文艺”这个招牌，经常举办各种文艺相关的比赛，并想出“文艺搭台，经济唱戏”这样的全国所有破地方都喜欢的的恶俗口号，文艺搭台，经济唱戏怎么可能呢，这世界上只有文艺坍台，经济唱戏。一切都是为了附庸风雅，因为我们有太多没有特色的城镇，所以有人会绞尽脑汁给自己赋予一些特色，比如我们这里的农民会作画，我们这里的豆腐特别臭，我们这里的姑娘随便睡，我们这里的企业不交税，等等等等，这些东西可能就是狗屎，但如果是当地特有的狗屎，那这就是好东西。文艺在亭林镇就是这样的一个狗屎。

„Wenn Literatur und Kunst ihren Auftritt haben, spielt auch die Wirtschaft eine Rolle“ – wie kann denn das sein? Auf dieser Welt gibt es nur „Wenn Literatur und Kunst zugrunde gehen, spielt auch die Wirtschaft ihre Rolle“. Alles war nur inszeniert, um sich als Liebhaber der schönen Künste aufzuspielen. Wir haben nämlich zu viele Städte und Dörfer ohne Besonderheit. Und so gibt es Menschen, die sich das Hirn zermartern, um dem eigenen Ort ein paar Besonderheiten zuzuschreiben, z.B. „unsere Bauern können malen“, „unser Tofu hier stinkt besonders penetrant“, „unsere Mädchen hier schlafen wild herum“, „unsere Firmen hier zahlen keine Steuern“ und so weiter, und so weiter. Diese Dinge mochten vielleicht Hundekacke sein, aber wenn es Hundekacke war, die es nur an diesem Ort gab, na dann war das eine gute Sache. Literatur und Kunst in der Kleinstadt Tinglin waren genau so eine Hundekacke.

黄莹在每年的新春文艺晚会上都会出现，唱歌跳舞，深得百姓的厚爱，关键是，她没有加入当地的文化部门，所以，政府还不用给她钱，她也深得政府的厚爱。很少有人可以兼得民间和官方的宠爱。她只是喜欢唱歌跳舞，而且就是喜欢展露自己的身材，所以这里的人都认为她很骚。她究竟是什么样一个人没有人考证过，追求黄莹也是一件非常矛盾的事情，一方面所有的男的都会眼红，一方面他们又会假装劝你，上这样的女人，一定要戴上避孕套。但是如果上天给他们一个上黄莹的机会，但条件是两个，一个就是不戴避孕套，一个就是自己家里的老娘会折寿一岁，大部分男人还是会前仆后继的。这真是件悲伤的事情，而且这个镇的环境污染越来越重，老人的寿命越来越短，折寿一岁在人生特定的长河里虽然不算什么，但在人生特定的场合里，很可能上完回来老娘已经死了。
Chrysanthemenglanz trat jedes Jahr zum Frühlingsfest auf der Abendfeier für Literatur und Kunst auf. Sie sang, tanzte und eroberte sich die große Sympathie der einfachen Leute. Sie war den örtlichen Kultureinrichtungen nicht beigetreten. Deshalb musste die Regierung ihr ihre Auftritte auch nicht bezahlen, so eroberte sie sich auch die Sympathie der Partei. Es gab nur selten jemanden, der gleichzeitig die Gunst des Volkes und der Kader genoss. Das einzige was sie mochte, war, zu singen, zu tanzen und ihren Körper zu präsentieren. Deshalb dachten die Menschen hier alle, dass sie liederlich sei. Was sie tatsächlich für ein Mädchen war, hatte nie jemand untersucht. Um Chrysanthemenglanz zu werben, war auch eine widersprüchliche Geschichte. Einerseits wurden alle Männer eifersüchtig, andererseits taten alle so, als würden sie dir dazu raten. Um ein solches Mädchen zu besteigen, musste man unbedingt ein Kondom überziehen. Aber wenn Gott ihnen die Gelegenheit gäbe, Chrysanthemenglanz zu besteigen und dabei die zwei Bedingungen aufstellte, erstens, kein Kondom zu tragen, und zweitens, dass die Alte bei einem zuhause ein Jahr ihres Lebens opfern musste, dann würden die meisten Männer bereitwillig einer nach dem anderen aufspringen. Das ist wirklich eine tragische Geschichte. Und die Umweltverschmutzung in diesem Dorf wurde immer schlimmer, die Lebenserwartung wurde immer kürzer, eine Verkürzung des großen Lebensstroms um ein Jahr zählte zwar nichts, aber in dieser speziellen Situation war die Alte zuhause, sobald man seinen Ritt beendet hatte, wahrscheinlich schon tot umgefallen.

左小龙一直很喜欢黄莹，但这样的喜欢是一种没有预感到交集的喜欢，所以不曾放在心上，今天这样的场合遇见她，左小龙突然冒出一个想法，他对大帅说：大帅，你觉得黄莹怎么样？
Zuo Xiaolong mochte Chrysanthemenglanz schon immer. Aber seine Zuneigung war ein Gefühl, das keine Chancen in Bezug auf die Zukunft beinhaltete. Deshalb hatte er dies nie in sein Herz gelassen. Als er sie heute bei dieser Gelegenheit traf, kam ihm plötzlich eine Idee. Er fragte Da Shuai: „Da Shuai, was hältst du von Chrysanthemenglanz?“

大帅道：上这样的女人，一定要戴上避孕套。

Da Shuai sagte: „Wenn man ein solches Mädchen besteigt, muss man unbedingt ein Kondom überziehen.“

左小龙说：我不是说这个，你觉得，我们把她拉到合唱团里，怎么样？

Zuo Xiaolong sagte: „Das meinte ich nicht. Meinst du, wir können sie in unseren Chor ziehen? Was hältst du davon?“

大帅道：不是说用小学生么？这样一个女的在，会不会大家芳心大乱，队伍涣散？电视剧里都是这样的。
Da Shuai sagte: „Wollten wir nicht Grundschüler nehmen? Wenn so eine Frau da ist – versinken dann nicht alle für das Mädchenherz im Chaos? Wird das nicht die Kampfmoral des Chores untergraben? Die TV-Soaps sind doch voll davon.“

左小龙说：不不，我们正好缺一个音部，没有这个音部，合唱团肯定不行，黄莹做这个音部，正合适。没错的。
Zuo Xiaolong sagte: „Nein, nein. Uns fehlt gerade so ein Part. Wenn wir diesen Part nicht haben, funktioniert unser Chor bestimmt nicht. Wenn Chrysanthemenglanz diesen Part übernimmt, passt es genau. Glaub mir.“

大帅一时说不出话来，突然显得有点不好意思。半饷，大帅说：小龙，你这话说的，一时太直接了，我承认，我们缺少一个阴部，但是，黄莹会不会心甘情愿呢？

Da Shuai konnte einen Moment nichts sagen, es schien ihm plötzlich peinlich zu sein. Halb im Scherz sagte er: „Zuo Xiaolong, das was du da sagst, ist für den Moment zu direkt. Ich gebe zu, wir brauchen diesen Part, diese Sexpartnerin. Aber ob Chrysanthemenglanz damit so überglücklich sein wird?“

左小龙道：你去说说。
Zuo Xiaolong: „Laber du nur.“

大帅问：我怎么说，你怎么不去说。

Da Shuai sagte: „Wie ich es auch sage, du sagst es andersherum.“

左小龙道：我是团长，你是副团长，这就像导演和副导演的关系一样，演员的海选都是由副导演负责的。你去。

Zuo Xiaolong: „Ich bin der Dirigent, du der Vizedirigent. Das ist wie beim Verhältnis zwischen Regisseur und Vize-Regisseur. Für das Casting ist der Vize-Regisseur verantwortlich. Sprich du sie an.“

大帅问：那我怎么说？

Da Shuai fragte: „Na, was soll ich ihr denn sagen?“

左小龙说：你直接说，你就上去，对她说，我们要做个合唱团，但我们缺少一个音部，你技术很好，所以你一个人就行。

Zuo Xiaolong sagte: „Sags direkt. Geh einfach hin und sag ihr, wir wollen einen Chor gründen, wir brauchen noch einen Part. Du bist sehr geschickt. Du schaffst das alleine.“

大帅还没听完就躲很远，说，我不去，送死我不去。

Da Shuai hatte noch nicht zu Ende gehört, und zog sich schon weit zurück. Er sagte: „Ich gehe nicht, ums Verrecken nicht.“

左小龙摇摇头，说，你看你，关键的时候，你总是不行。我来。

Zuo Xiaolong schüttelte den Kopf und sagte: „Schau dich nur an, wenn es drauf ankommt, biste immer zu feige. Dann mach ich’s eben.“

左小龙拧了一下油门，突然意识到自己胯下的并不是那台爆缸的西风摩托，而是一台国产摩托，顿时信心回缩，他觉得还是等自己的摩托车修好以后再去和黄莹说更加靠谱。他刹车转身对大帅说：这样吧，大帅，看缘分，一切都看缘分，如果我能和黄莹再碰到，我就去找她。

Zuo Xiaolong drehte einmal den Gashebel, und merkte auf einmal, dass er zwischen seinen Beinen nicht die Westwind hatte, sondern ein im Inland hergestelltes Motorrad. Sein Mut sackte auf einmal zusammen. Er dachte, dass er besser warten sollte, bis sein Motorrad wieder repariert war, bevor er Chrysanthemenglanz ansprechen würde. Das wäre dann sicherer. Er stellte die Maschine ab, drehte sich zu Da Shuai um und sagte: „Dann eben so, Da Shuai, lassen wir das Schicksal entscheiden, lassen wir alles das Schicksal entscheiden. Falls ich Chrysanthemenglanz wieder treffe, frage ich sie.“

黄莹开这踏板唱着歌离他们远去。

Chrysanthemenglanz entschwand mit ihrem Roller singend in der Ferne.

正文第十一章
Kapitel 11

左小龙对大帅说：吃饭去。

Zuo Xiaolong sagte zu Da Shuai: „Lass uns was essen gehen.“

两人开车穿过最热闹的地方，景物逐公里而荒凉败落，这个地方所有的农民住房都被外来打工者租下，一间屋子一百元，一个房子一年就能有额外的一万块收入。这样一来，当地人无法就业的怨恨渐渐平息，因为他们得了利益，虽然这需要和几十个不认识的人住在一个屋子里，而主人自己和他所有的东西只能挤在一个房间里。一开始这里“经济唱戏”的时候，大家都很高兴，觉得自己可以有一份体面的工作，但是因为唱戏没唱好，所以招商来的全都是一些被其他地方所摒弃的重污染化工企业，但当地人转念一想，算了，污染严重点就严重点，体面的工作是没有了，但是人家吸毒还得花钱，咱们这里免费就能吸毒。虽然我们的家园被污染了，但污染的是我们的河流和空气么，河流最终会流到别处去，空气也会被太平洋的风吹走，但钱留住了。

Die beiden kamen durch das lebhafteste Ortsgebiet. Das Stadtbild wandelte sich Kilometer um Kilometer, es wurde immer heruntergekommener und verfallener. Die Bauernhäuser in dieser Gegend waren alle von Wanderarbeitern gemietet worden, ein Zimmer 100 Yuan, ein Haus konnte so 10.000 Mücken Zusatzverdienst pro Jahr bringen. Die ortsansässigen Leute waren zunächst wütend, dass sie keine Arbeit mehr finden konnten. Sie beruhigten sich auf diese Art aber wieder, denn sie hatten etwas davon. Zwar musste man nun mit zig unbekannten Menschen unter einem Dach zusammenwohnen und der Hausherr konnte nur mit allen seinen Sachen in einem Zimmer bleiben. Als zum Beginn ,,die Entwicklung der Wirtschaft” agitiert wurde, waren alle noch glück und hoffnungsfroh, dass sie eine gute Arbeit bekommen könnten. Aber später konnte die Wirtschaft leider nicht so gut wie geplant entwickelt werden, was Tinglin investierte, waren einige chemische Industriebetriebe, die wegen schlimmer Umweltverschmutzung von anderen Städten ausgesetzt wurden. Und dann dachten die Einmischen in Pavillionwald: ‚Vergiss es! Es gibt bestimmt keine gute Arbeit mehr. Die anderen kostet es noch, Drogen zu kaufen. Aber in unserem Tinglin ist es sogar kostenlos. (Im Chinesisch klingen Drogen und Gift ganz gleich.) Unser Heimatland wird verschmutzt, betroffen sind der Fluss und die Luft. Später wird der Fluss anderswohin fließen und die Luft wird von dem pazifischen Wind anderswohin geblasen. Am Ende bleibt das Geld in Tinglin.‘

开满了化工企业后，这里的环境果然出现了问题，河流虽然流走了，但物种都变异了，人们惊奇的发现，这里的小龙虾长到了普通小龙虾的三倍大，人家非常惶恐，但劳动人民的智慧很快被发挥了，他娘的这不就是澳洲大龙虾么。后来经过当地见过世面的村民反映，这个要冒充澳洲大龙虾还是难了一点，估计要再被污染五年才行，但是不要紧，澳洲还有小青龙，我们这冒充澳洲小青龙拿去市场上卖。

Nach der Eröffnung der Chemiefabrik tauchten, wie zu erwarten war, Umweltprobleme auf. Das Wasser im Fluss floss zwar den Fluss hinab, dennoch kam es zu Mutationen der dortigen Lebensformen. Erstaunt stellten die Menschen fest, dass die Flusskrebse hier dreimal größer wurden als normale Flusskrebse. Die Leute waren erschrocken, aber bald wandten sie die Bauernschläue der arbeitenden Bevölkerung auf das Problem an. Diese verdammten Viecher waren doch australische Hummer, oder etwa nicht? Später stellte man anhand der Erfahrungen derjenigen Dorfbewohner, die bereits die Welt gesehen hatten, fest, dass es schwierig werden würde, sie als australische Hummer durchgehen zu lassen. Man schätzte dazu benötige es noch fünf weitere Jahre der Verschmutzung. Das machte jedoch nichts, es gab in Australien schließlich auch Garnelen. Man konnte diese Flusskrebse also als australische Garnelen auf dem Markt verkaufen.

但山寨的道路是任重道远的，很快，人们发现澳洲小青龙是青色的，但亭林变异龙是红色的，无奈，抓到这种龙虾的人们一致对外宣称，真是几内亚大虾。选择几内亚的原因是捕虾者要选择一个国家，翻开资料，几内亚因为起首字的笔画最少而排在第一位。

Doch das Geschäft mit Fälschungen ist ein hartes Brot. Sehr bald merkten die Menschen, dass australische Garnelen grün sind und keineswegs rot, wie diese mutierten Flusskrebse. Die Verkäufer kamen nicht umhin einhellig zu erklären, diese Garnelen seien aus Guinea. Der Grund dafür war ganz einfach, dass die Verkäufer irgendeinen Staat auswählen mussten. Sie schlugen einige Informationen nach und dann stand Guinea in der Liste der Länder, sortiert anhand der Strichanzahl des ersten Schriftzeichens, an erster Stelle.

当然，几内亚大虾是这几天事情，左小龙也是为数不多的留在这里的青年人。当地人的工作梦想还没到一年，大量的外来打工者找到了这里，他们比当地人更能吃苦，更能耐劳，更能吸毒，而且只要求一半多的薪水，很快，当地人纷纷失业。

Selbstverständlich waren Garnelen aus Guinea etwas ganz neuartiges. Zuo Xiaolong war auch einer der wenigen Jugendlichen, die in Tinglin blieben. Innerhalb eines Jahres wurde der Traum von Arbeit der Einheimischen zerstört. Wanderarbeiter strömten in großer Zahl nach Tinglin. Im Vergleich zu den Einheimischen konnten sie größere Entbehrungen ertragen, waren fleißiger bei der Arbeit, konnten mehr Verschmutzung erdulden, und sie forderten nur etwas mehr als das halbe Gehalt der Einheimischen. Bald wurden die Einheimischen einer nach dem anderen arbeitslos.

他们的愤怒还没有来得及宣泄的时候，当地其他的产业崛起了，那就是服务外来务工人员的行业，面对突然涌来的几万人口，当地的几千人走了一大半以后，剩下的突然想到，我们可以赚外来务工人员的钱，老人可以把房子租出去，年轻人开始开各种店来满足这些人的日常生活生理需要。就这样，这个殖民镇暂时和谐了下来。

Noch bevor die Einheimischen ihrem Ärger Luft machen konnten, begann der Aufstieg anderer Industriezweige in Tinglin --- das war vor allem das Gewerbe der Dienstleistungen für die Wanderarbeiter. Angesichts plötzlich einströmender zehntausender neuer Bewohner und nachdem viele der wenigen tausend Alteingessenen schon weggezogen waren, kam den Dagebliebenen plötzlich die Idee mit den Wanderarbeitern Geld zu verdienen. Die Alten konnten ihre Wohnungen vermieten, die Jungen begannen alle Arten von Läden zu eröffnen, um den alltäglichen Bedarf der Arbeiter zu decken. So kehrte vorerst die Harmonie zurück an diesen kolonisierten Ort.

### ab hier übersetzt von Chen Chen (Kapitel 12 – 27)
正文第十二章
Kapitel 12

左小龙和大帅开着摩托车经过了外来人口最多的一条马路，这里本身是国道，但是因为这里工厂实在太多，一到下班的时候，下班的人群就会拥满整条公路，交警部门无奈只能让车辆在工厂下班的时间绕道而行，这就成了全国唯一一段成为步行街的国道。

Zuo Xiaolong fuhr mit Da Shuai auf einer Straße, die hauptsächlich von den zugewanderten Leuten bewohnt wurde. Eigentlich war es eine Nationalstraße, aber wegen der zahlreichen Fabriken wimmelte sie zu Feierabend nur so von heimkehrenden Menschen, die Verkehrspolizei musste alle Fahrzeuge zu dieser Zeit umleiten. So entstand hier die landesweit einzige Nationalstraße, die zur Fußgängerzone wurde.

左小龙和大帅开着摩托车在这步行街里躲闪着人流。左小龙突然驶离了国道，开上了小路，大帅问道：你怎么了。

Zuo Xiaolong tat auf dem Motorrad sein Bestes, in dieser Fußgängerzone der Menschenmenge auszuweichen. Plötzlich wich er von der Nationalstraße ab und bog auf einen kleinen Weg ein. Da Shuai fragte: „Was ist denn los mit dir?“

左小龙道：执法。

Zuo Xiaolong antwortete: Ich beachte Recht und Ordnung.

大帅一时没能听明白，泥路上颠簸流离，大帅又不愿意搂紧左小龙，只能紧紧抓住摩托车的座椅。

Da Shuai konnte das in diesem Moment nicht verstehen. Auf dem schlammigen Pfad rütteltet es die beiden durch. Er wollte sich keinesfalls an Zuo Xiaolongs Hüften festhalten, deswegen blieb ihm nur, sich an den Sitz zu klammern.

左小龙绕道了一个染料厂的后面，把摩托车停好，下车对大帅说：你看，这个三层的小楼是他们的高层在的地方，他们污染我的河，我要……
Zuo Xiaolong fuhr bis hinter eine Farbstofffabrik, stellte das Motorrad ab und sagte zu C. v. D. : “Schau mal, die Leitung der Fabrik befindet sich in diesem dreistöckigen Haus. Sie hat meinen Fluss verschmutzt und ich werde...”

Zuo Xiaolong fuhr hinter eine Farbstofffabrik, stellte das Motorrad ab und sagte zu Da Shuai: „Schau mal, die Leitung der Fabrik befindet sich in diesem dreistöckigen Haus. Sie hat meinen Fluss verschmutzt und ich werde...“

大帅问道：怎么样？

„Was wirst du?“, fragte Da Shuai

左小龙坚毅的看着小楼的玻璃，流露出视死如归的眼神，道：我要打破他的窗。

Entschlossen starrte Zuo Xiaolong das Glas des Gebäudes tapferen Blickes an und sagte: „Ich werde ihnen die Fenster einschlagen.“

说罢，左小龙捡起一块石头，往小楼的窗户砸去，但因为射程比较远，左小龙的抛物线也不够合理，杀伤力一般，所以石头碰到床的时候已经绵软无力，崩了一下以后掉落到了围墙里。

Gesagt getan, er hob einen Stein auf und warf ihn in Richtung eines der Fenster des Gebäudes. Doch wegen der großen Entfernung und da Zuo Xiaolongs Wurf nicht genau genug war, war der potentielle Schaden gering. So hatte der Stein beim Einschlag bereits seine Kraft eingebüßt, mit einem Klatschen fiel er innerhalb des Zauns zu Boden.

狗逼。左小龙说道。说罢又捡起一块各方面条件符合的石头。左小龙对大帅说：扔石头很有讲究，我其实很喜欢这个，刚才这个是失误，你看，太大的时候扔不动，太小的扔不远，片状的石头容易收到乱流的影响，三角的石头挌手，容易歪，最合适的就是这样的石头，椭圆形，光滑，大小……

„Verdammt“, schimpfte Zuo Xiaolong und griff nach einem anderen Stein, dessen Form ihm geeignet erschien. Er sagte zu Da Shuai: „Beim Steine werfen muss man achtsam auswählen. Eigentlich mag ich diesen hier, der von gerade eben war nicht geeignet. Einen zu großen Stein kann man nicht werfen, einen kleinen kann man wiederum nicht weit werfen. Ein flacher verlässt in der Luft leicht seine Flugbahn, während ein dreieckiger nicht gut in der Hand liegt und man sich damit leicht verletzt. Am geeignetsten ist so ein Stein, oval, glatt und von einer Größe wie...“

大帅接话到：这不就是鹅卵石麽。

Da unterbrach Da Shuai: „Ist das nicht einfach ein Kieselstein?“

左小龙没往下说，操起一块扔向玻璃。石头还没有接触到目标，左小龙就开始发动摩托车，道：赶紧走，可以了。

Zuo Xiaolong sprach nicht weiter, sondern warf den nächsten Stein in Richtung des Fensters. Bevor der Stein sein Ziel treffen konnte, startete er schon das Motorrad und sagte: „Schnell fahren wir, das reicht.“

说话，玻璃稀里哗啦掉一地。
Inzwischen brach sich das Glas in Fetzen.

大帅连忙跳上摩托车，两人在砂石路上卷起浓烟，转过一个村庄，两人到了一个塑胶厂后面。

Da Shuai beeilte sich, auf das Motorrad zu steigen. Die beiden wirbelten auf dem sandigen Boden eine Staubwolke auf. Sie fuhren um das Dorf herum und kamen hinter einer Kunststofffabrik an.

这个塑胶厂的结构和刚才那个染料厂大同小异，大帅道：我来。说完从地上捡起石头，左小龙忙握住他的胳膊，说，等等。

Diese Fabrik ähnelte der vorherigen Farbstofffabrik sehr. Da Shuai sagte: „Diesmal mache ich es“, und sammelte einen Stein vom Boden auf. Zuo Xiaolong hielt ihn eilig am Arm und sagte: „Warte mal.“

大帅说：成，那你来吧。
C. v. D. sagte: "Na gut, du übernimmst."

左小龙道：等等，你没看楼下有个人在扫地。等那扫地的都了再砸，要不然玻璃全插她脑袋上。

Zuo Xiaolong sagte: „Warte mal, siehst du nicht, dass dort jemand fegt? Wir warten mit dem Werfen bis sie fertig gefegt hat, sonst würden ihr die Glassplitter auf den Kopf fallen.“

两人等了五分钟，那清洁工直接就坐在楼下台阶上休息。大帅问：怎么办？

Die beiden warteten fünf Minuten, da setzte sich die Putzfrau auf die Treppe und ruhte sich aus. Da Shuai fragte: „Was machen wir jetzt?“

话虽这样问，但大帅已经做好了死等的准备，他觉得依照这样一个人的脾气，这石头是一定要扔出去才算完。

Obwohl er so fragte, war er schon darauf vorbereitet, ewig zu warten. Er vermutete ein Mann mit einem solchen Temperament müsse das Steine Werfen sicherlich vollenden, bevor er die Sache als erledigt betrachten würde.

左小龙道：吃饭去。

Daraufhin sagte Zuo Xiaolong: „Nun gehen wir essen.“

正文第十三章
Kapitel 13

两人来到了大毛土菜馆。大毛土菜馆是当地有名的菜馆，店主是个盲人，叫刘必芒，小时候他的父母觉得他必然绽放光芒，所以取名刘必芒，结果还真的盲了。在他瞎了以后，他很痛恨自己的名字，他觉得是这个名字不吉利，所以将“必”字去处，改名刘芒。他很关心这世界正发生了什么，他很喜欢左小龙，因为只有左小龙有耐心陪他聊天，告诉他亭林镇的局势，关于世界局势和中国的局势他可以从电视上听到，但是电视里不会告诉他亭林镇的局势。后来他装了卫星电视，但是卫星电视让他心情不爽，因为他发现，明明是相同的事情，为什么从卫星里得知的和从国内电视台得知的有所区别。他不知道相信哪个好，最后，他把卫星大锅拆了，他认为应该相信自己人的。他把卫星大锅拆下来后，当地的警方就找到了他们，警方说他是私装卫星电视。

Die beiden betraten das Damaotu-Restaurant. Dieses Restaurant war ein sehr beliebtes lokales Restaurant, dessen Besitzer ein Blinder namens Liu Bimang war. Als er klein war glaubten seine Eltern, dass er unvermeidlich in Glanz erstrahlen würde. Daher nannten sie den Jungen Bimang. [Anm. des Übersetzers: Hier braucht es m.M.n. definitiv eine Fußnote o. Ä. zur Erläuterung der Doppeldeutigkeit von "Bimang". Da solche Stellen regelmäßig vorkommen, würde ich vorschlagen dazu eine einheitliche Regelung aufzustellen] Am Ende erblindete er allerdings. Nachdem er erblindet war, verabscheute er seinen Namen sehr. Er glaubte sein Name habe ihm dieses Unglück gebracht. Daher entfernte er das Zeichen "Bi" aus seinem Namen und nannte sich fortan Liu Mang. Ihn beschäftigte sehr, was gerade auf der Welt vor sich ging und er mochte Zuo Xiaolong gern, denn nur Xiaolong hatte die Geduld, sich mit ihm zu unterhalten. Xiaolong erzählte ihm vom aktuellen Geschehen in Tinglin. Vom Geschehen in China und auf der ganzen Welt konnte er aus dem Fernsehen erfahren, doch das Fernsehen berichtete nichts über Tinglin. Später besorgte er sich Satellitenfernsehen, doch das machte ihm schlechte Laune. Das lag daran, dass er bemerkte wie unterschiedlich die Berichterstattung über genau die selben Dinge im Satellitenfernsehen und im Fernsehen vom chinesischen Festland war. Er wusste nicht, wem er nun Glauben schenken sollte. Schließlich riss er die Satellitenschüssel ab. Er glaubte er sollte besser den eigenen Leuten vertrauen. Nachdem er das getan hatte, wurde sie von der lokalen Polizei gefunden und sie beschuldigten ihn er hätte sich heimlich Satellitenfernsehen installieren lassen.

盲店主问：卫星电视不能装么？

Der blinde Restaurantbesitzer fragte: „Darf man sich kein Satellitenfernsehen einrichten?“

警察说：不能装，你没看到有告示么，贴在各个地方的宣传栏上的。
Die Polizei antwortete :"Nein. Hast du die Ausschreibung nicht gesehen? Die kleben an allen Propagandaschildern."

店主回答：我没看到。
Der Besitzer: "Nein."

警察说：这个我们要没收，还要罚款。
Die Polizei : "Dieses Ding kassieren wir jetzt ein und du bezahlst auch das Strafgeld."

店主问：我装在上面的时候你们为什么不罚我呢，拆下来了还要罚我？
Der Besitzer: "Aber warum bestraften Sie mich nicht als es da war, aber jetzt nach dem Abbau?"

警察道：你装在上面的时候我以为是你们饭店的招牌，是个锅，你拆下来了我就看清楚了。

Der Polizist daraufhin: „Damals dachte ich, es sei ein Reklameschild deines Restaurants, diese Schüssel. Jetzt wo du sie abgenommen hast, habe ich sie mir erst genau angeschaut.“

店主问：你这为什么不让看啊。

Der Besitzer fragte erneut: „Und warum darf man nicht über Satellit fernsehen?“

警察道：我只是执行任务，执行上级的通知，这里面肯定有不健康的东西。
Die Polizei antwortete: "Ich führe einfach die Befehle von meinen Vorgesetzten durch und habe die öffentliche Ordnung zu bewahren. Darin gibt es sicherlich böse Sachen, sie schaden nur."

店主顶撞道：那我怎么还挺健康呢。

Der Restaurantbesitzer entgegnete: „Wie kommt es dann, dass ich ganz unversehrt bin?“

警察笑道：你健康什么啊，你都看瞎了。算了，我就不罚你了款了，你也是盲人，但你的作案工具我们就没收了。

Da lachte der Polizist: „Unversehrt bist du auf keinen Fall. Du bist doch blind. Also, angesichts deiner Blindheit erlasse ich dir deine Strafe. Aber das Tatwerkzeug konfiszieren wir jetzt.“

说罢将卫星大锅撞上了平时收缴摩托车用的卡车。

Kaum hatte er zu Ende gesprochen, lud er die Satellitenschüssel auch schon auf den Transporter, der normalerweise dazu genutzt wurde, Motorräder zu beschlagnahmen.

店主哀求道：这是我自己拆的，我是因为觉得要相信自己人才拆的。
Der Besitzer flehte: "Das habe ich selbst demontiert, weil ich denke, dass ich unseren Inländern glauben sollte."

警察看了一眼，道：自己人？
Die Polizei warf ihm einen kurzen Blick und sagte: "Unsere Inländer?"

就这样，他的大锅被没收。他愤然摸索到了自己的房间。而他的保姆听到动静出门，看见警察正在撞卫星大锅，以为主人不知道，连忙一边上车夺下，一边大喊刘芒刘芒而被处于行政拘留1天，罪名是妨碍公务并且辱骂警察。

So wurde seine Schüssel einkassiert. Voller Wut zog er sich ins Haus zurück. Zugleich hörte seine Haushälterin was vor sich ging und kam heraus. Sie sah die Polizei die Schüssel auf den Wagen laden. Im Glauben ihr Chef wüsste nichts davon sprang sie sofort auf die Ladefläche, rang um die Schüssel, rief zugleich lauthals nach ihrem Chef "Liu Mang, Liu Mang" und wurde deshalb von den Beamten für einen Tag in Haft genommen. Der Vorwurf lautete Störung einer Amtshandlung und Beamtenbeleidigung. [Anmerkung: Wiederum Fußnote o. Ä. zur Erläuterung der Doppeldeutigkeit von Liumang benötigt]

刘芒也是顽固的排外派，认为大量的外来人口让人看着就很讨厌，把他们原来的家园搞的乱七八糟，所以他制定了一个规矩，只要是当地人凭借一口当地话去那里吃饭就可以打五折，刘芒的老婆却是个包容派，她认为本来就没有什么永远的家园，那都只是人类迁徙过程里的落脚处，只是落脚的时间长短不一而已，她为了让外地人更好的融入这里，开了一个收费培训班，专门培训外地人说当地话。他们这样一个组合真是非常奇怪，实在是无法计算他们的家庭总收入到底会多一点呢还是少一点。

Liu Mang war stur in seiner Xenophobie, er fand die Unmenge der zugewanderten Menschen widerlich. Sie stürzten seine Heimat ins Chaos. Deshalb stellte er eine Regel auf. Alle Einheimischen, die den lokalen Dialekt sprachen, konnten beim Essen in seinem Restaurant einen fünfzigprozentigen Preisnachlass bekommen. Seine Frau war im Vergleich zu ihm toleranter. Sie glaubte es gäbe keine Heimat, die irgendjemandem auf ewig zustünde, sondern alle Orte seien lediglich Durchgangsstationen der menschlichen Migrationsbewegungen. Nur die Dauer des Aufenthalts unterscheide sich. Um den Auswärtigen eine bessere Integration zu ermöglichen, gab sie kostenpflichtige Trainingskurse, die darauf spezialisiert waren, die Auswärtigen im lokalen Dialekt zu unterrichten. So gaben sie eine merkwürdige Kombination ab. Es war nicht auszurechnen, ob ihr Familieneinkommen nun darunter litt, oder davon profitierte.

正文第十四章
Kapitel 14

左小龙坐定，老板正好在店里溜达，上前开门见山道：左小龙，明天这里又有个新的工厂开张了。

Zuo Xiaolong setzte sich. Der Chef war gerade im Restaurant. Er ging zu ihm und kam unvermittelt zur Sache: "Zuo Xiaolong, hier nimmt morgen wieder eine neue Fabrik den Betrieb auf."

左小龙叹口气，道：什么工厂？

Zuo Xiaolong seufzte und fragte: "Was für eine Fabrik?"

老板道：不知道，一个印刷厂。

Der Chef sagte: "Keine Ahnung, eine Druckerei."

左小龙喝道：服务员，菜单。

Zuo Xiaolong rief laut: "Bedienung, die Speisekarte!"

老板继续说：还搞了个揭幕剪彩仪式，仪式完了我这里被他们中午包场了，所以明天中午你过来吃饭的话就不行了。

Der Besitzer fuhr fort: "Sie werden sogar eine Einweihungszeremonie veranstalten und haben mein Restaurant für den Mittag nach der Zeremonie komplett reserviert. Deshalb kannst du morgen nicht bei mir zu Mittag essen."

左小龙看着菜单道：没事，明天中午不来，偶然来一次还吃得起，哪天连着来。

Während Xiaolong die Karte betrachtete antwortete er: "Macht nichts. Ich komme morgen Mittag nicht. Gelegentlich im Restaurant zu essen kann ich mir erlauben, aber nicht so regelmäßig."

老板道：开幕仪式镇长也来，还有表演，黄莹也来唱歌。印刷厂就开在我隔壁不远地方，你没事就到我的二楼包厢里来看，说不定还能看见剪彩。

Der Restaurantbesitzer sagte: "Bei der Eröffnungszeremonie wird unser Bürgermeister auftauchen. Es wird auch Aufführungen geben, dabei singt Huang Ying. Die Druckerei befindet sich nicht weit entfernt von hier. Wenn du nichts zu tun hast kannst du ja zu mir kommen und vom Séparée im ersten Stock aus zuschauen. Vielleicht sieht man sogar das Zerschneiden des Eröffnungsbandes."

左小龙道：我来。

Zuo Xiaolong darauf: "Ok, Ich komme."

他们吃完饭以后回到雕塑园，此时的雕塑园一片漆黑，里面的各种植物好似可以吸收日月光辉，他把大帅放下以后自己又骑摩托车在公路上疾驰，他深爱一个人穿破风雾的感觉，这感觉就好似孤胆英雄，正因为孤胆英雄最重要的是孤，所以身边一定是不能坐人的，当然，他没明白孤胆英雄是一个层层递进的词汇，孤小于胆小于英雄。但这些都不重要，因为孤是最容易做到的。从二十公里外吹来的太平洋海风包裹着左小龙，左小龙开着摩托车一直在追逐一只疑似海鸟的鸟往东海的方向而去。这个镇离开海岸线才十五分钟的车程。在雕塑园里的鸟估计也是在海上迁徙时候落脚，雕塑园是人类发展进程里唯一没有被毁灭的原始土地摸样，虽然它没有被毁灭的原因是因为人类自己扯皮不清。这里的蚊虫虽然多，但这里的蚊虫会被青蛙和蜘蛛吃掉，而不是被喷雾剂所消灭。

Nach dem Essen kehrten sie zum Skulpturenpark zurück. Dort war es zu dieser Zeit stockdunkel. Es schien, als ob die Pflanzen das Licht von Sonne und Mond absorbieren könnten. Er setzte Da Shuai ab und raste allein auf der Straße weiter. Er liebte das Gefühl, allein den Dunst zu durchkreuzen, dabei fühlte er sich wie ein einsamer, tapferer Held. Das Allerwichtigste an einem einsamen, tapferen Helden war die Einsamkeit, deshalb durfte auf keinen Fall jemand mitfahren. Offensichtlich verstand er nicht, dass in dem sprichwörtlichen einsamen, tapferen Helden eine stufenweise Steigerung enthalten ist. Das Heldentum ist wichtiger als die Tapferkeit ist wichtiger als die Einsamkeit. Für Xiaolong war das jedoch nicht wichtig, denn einsam zu sein war das Einfachste. Der Meereswind wehte vom 20 km entfernten Pazifischen Ozean herüber und hüllte ihn ein. Er verfolgte auf seinem Motorrad die ganze Zeit einen Vogel, den er für einen Meeresvogel hielt, in Richtung des Ostchinesischen Meeres. Diese Kleinstadt war nur eine etwa fünfzehn minütige Fahrt von der Küste entfernt. Die Vögel im Skulpturenpark hielten sich wahrscheinlich auch nur während ihrer Wanderungen zeitweise dort auf. Der Skulpturenpark war der einzige von der menschlichen Entwicklung noch unversehrte, ursprüngliche Fleck Natur, trotz dessen seine Unversehrtheit darin begründet lag, dass die Menschen sich nicht einigen konnten. Dort gab es zwar unzählige Moskitos, aber sie wurden von Fröschen und Spinnen gefressen, nicht durch Insektenbekämpfungsmittel vernichtet.

左小龙虽然在每拧下一次油门的时候都会把大帅的摩托车和自己的西风做比较，然后唏嘘，但是他依然执着的向着……不知道什么地方开去。他只是在想，他热爱自己的家园，但如果每天能做的只是发射鹅卵石，未免太过英雄气短。但他转念一想，每个人都有自己的报仇方式，有些人报仇为了报仇，有些人报仇为了悦己。况且这些不是仇恨，只是恨。

Obwohl Xiaolong bei jedem Gasgeben Da Shuais Motorrad mit seiner eigenen Xifeng verglich und daraufhin seufzen musste, war er dennoch entschlossen immer weiter zu fahren......Wohin wusste er selbst nicht. Er dachte bei sich, er liebte seine Heimat sehr, doch wenn er jeden Tag immerzu nur Steine werfen würde, war das doch unweigerlich zu kurzsichtig für einen richtigen Helden. Doch er überlegte es sich anders. Jeder hatte doch seine eigene Einstellung zu Rache. Manche rächten sich um der Rache willen, andere rächten sich zur eigenen Genugtuung. Außerdem handelte es sich hier nicht um Feindseligkeit, sondern um Hass.

左小龙没能开到海边，他开到了一个巨型化工厂的生活区，在疾驰的过程中他看见有一台汽车停放的不对，把盲道给占了，他没有多加思索，用他以前一贯的方式贴着汽车的右边反光镜擦了过去，砰的一声汽车的反光镜就向着车头方向折叠了。左小龙管这些都叫执法，因为他觉得他们违反了他心中的善恶观，作为惩罚，他得把这些车的反光镜撞折过去，但是不要紧，因为车主发现后扳一下就能扳回来。但是第二次……左小龙决定第二次就不能这样轻易放过他们，但问题是左小龙根本记不住认不清哪台车犯了第二次。所以，左小龙练就了一身用摩托车手柄蹭反光镜的绝技。至于为什么要蹭右边，是因为他第一次尝试的时候是蹭左边，摩托车先接触到的就是前刹车闸，所以在蹭到反光镜的一刹那，摩托车也启动了前刹车，左小龙就飞了出去，以后左小龙就学乖了，专门蹭左手边离合器的那个把手。

Zuo Xiaolong schaffte es nicht bis ans Meer, er fuhr am Wohngebiet einer riesigen Chemiefabrik vorbei, bis er noch den Meersstrand erreichte. Beim Fahren sah er, wie ein Wagen falsch geparkt war. Er blockierte den Blindenweg. Ohne lange zu überlegen schrammte er in gewohnter Weise am rechten Seitenspiegel entlang. Mit einem Krachen verbog sich der Seitenspiegel nach vorn. Xiaolong hielt das für eine Tat, die Recht und Ordnung aufrecht zu erhalten hilft. Seine Philosophie von Gut und Böse wurde durch das falsche Parken verletzt, als Strafe verbog er die Seitenspiegel solcher Wagen. Es war nichts ernstes, denn der Fahrer würde es bemerken und den Seitenspiegel wieder zurecht rücken. Doch beim zweiten Mal... Xiaolong entschied, dass sie beim zweiten Mal nicht so leicht davon kommen sollten. Das Problem war, dass er sich überhaupt nicht merken und nicht erkennen konnte, welcher Wagen schon das zweite Mal falsch geparkt war. So war Xiaolong sehr geübt in der Fähigkeit mit dem Lenker des Motorrads die Seitenspiegel eines Autos zu treffen. Selbst für die Wahl des rechten Spiegels gab es einen Grund, denn als er es beim ersten Mal mit dem linken Spiegel probiert hatte, hatte er den Spiegel mit der Bremse des Motorrads getroffen. Daraufhin bremste es plötzlich und er flog vom Motorrad. So hatte er gelernt, die Spiegel mit der Kupplung an der linken Seite zu treffen.

但这次，他又失误了，他没想到大帅的车离合器位置诡异，一撞以后把自己的手指给夹了，这一夹非常的疼，左小龙当时就没法把摩托车开正，下车捂着手蹲了半天，发现受伤的是左手的中指，而且开始肿大，他一想觉得完蛋了，这次的破风之旅估计要变成破伤风之旅了。

Doch dieses Mal ging es wieder schief. Er hatte nicht bedacht, dass die Position des Kupplungshebels an Da Shuais Motorrad ungewöhnlich war. Beim Zusammenstoß klemmt er sich einen Finger ein, was ihm so unglaublich weh tat, dass er das Motorrad nicht mehr richtig fahren konnte. Er stieg ab, hielt sich die Hand und hockte eine Weile. Er stellte fest, dass er sich den Mittelfinger der linken Hand verletzt hatte und dieser begann anzuschwellen. Er dachte er wäre am Ende. Dieses Mal war die Fahrt durch den Wind wohl zu einer Fahrt der Verletzung geworden.

正文第十五章
Kapitel 15

左小龙一个手摇摇晃晃开到了雕塑园，在回程的路上，这太平洋夏日的暖风都变凉了，吹得左手抽疼。回到了他们的住所，大帅在园里看电视。因为没有有线电视，所以只能收到固定的几个频道，但左小龙和大帅都觉得这样看电视反而更容易有满足感。左小龙把肿大的中指伸出来给大帅一比划，大帅道：骨折了。

Mit einer Hand das Motorrad fahrend kehrte Zuo Xiaolong schlingernd zurück zum Skulpturenpark. Auf dem Rückweg wurde der warme sommerliche pazifische Wind zu einer kühlen Brise und tat der linken Hand weh. In ihrer Wohnung sah Da Shuai fern. Da sie kein Kabelfernsehen hatten, konnten sie nur wenige Programme empfangen. Doch die beiden waren zufrieden damit, denn das war für sie unkomplizierter. Xiaolong hielt Da Shuai seinen geschwollenen Mittelfinger hin. Da Shuai sagte: "Der Knochen ist gebrochen."

左小龙道：我也觉得是。

Xiaolong darauf: "Das glaube ich auch.

大帅问：该不是摔了我的车了吧。

Da Shuai mit fragender Stimme: "Du bist doch wohl nicht mit meinem Motorrad gestürzt?"

说罢起身去看摩托车。
Und er ging das Fahrzeug zu überprüfen.

左小龙道：没摔到。有没有绑带？
"Nein. ", antwortete Zuo Xiaolong, "Hast du eine Binde?"

大帅从抽屉里翻了半天，找出一些胶带，说：凑合用。

Da Shuai grabbelte lange in einer Schublade, fand etwas Klebeband und reichte es Xiaolong: "Vielleicht geht das."

左小龙从手边的树上掰了一小截细嫩的树枝，用来固定中指，然后用胶带缠住，吃了两粒止疼药，治疗就完毕了。左小龙从小对疼痛不是很畏惧，他小时候喜欢看战争片和战争书籍，眼看着自己的四肢离开躯体对他来说都不算什么难以接受的事情，他小时候崇拜希特勒，觉得希特勒就像一个孤胆英雄，但是在看希特勒的传记的时候，发现原来希特勒只有一个睾丸，而且在被子弹击中的时候大喊救命和疼，所以心中的崇拜感顿时消失，希特勒也从孤胆英雄一下子降为孤蛋英雄。左小龙觉得是男人就是不能喊疼的。

Zuo Xiaolong brach einen dünnen Ast von einem Baum ab, um damit seinen verletzten Mittelfinger zu schienen. Er befestigte das Ästchen mit dem Klebeband an seinem Finger und schluckte zwei Schmerztabletten, damit war die Behandlung beendet. Von klein auf fürchtete Xiaolong Schmerzen nicht sehr. Als er klein war, hatte er gerne Kriegsfilme gesehen und Kriegsliteratur gelesen. Selbst wenn er Gliedmaßen verloren hätte, wäre das für ihn keine schwer zu akzeptierende Sache gewesen. Als er klein war, hatte er auch Hitler verehrt, er fand Hitler sei ein einsamer, tapferer Held gewesen. Doch als er später die Biographie von Hitler las, fand er heraus, dass Hitler nur einen Hoden hatte und außerdem wie am Spieß um sein Leben geschrien hatte, als er angeschossen wurde. Da verflüchtigte sich seine Bewunderung, Hitler war von einem einsamen, tapferen Helden zu einem "einhodigen" Helden geworden. Xiaolong glaubte, ein echter Mann schreie nicht vor Schmerz.

虽然真的很疼。
Obwohle es ihm wirklich weh tat.

这个夜晚左小龙特别难熬，还有一只不懂事的蚊子在他的左手中指上咬了一口，那一口恰好咬在骨头断裂的位置，还不能挠，真是生不如死。有的时候疼好忍，但痒就不好忍了，忍还不能挠是最不能忍的。左小龙在这个时候想起了泥巴。他突然想，不知道这个小姑娘现在怎么样了。明天应该去找找她，告诉她自己受伤了，当然，是在见完黄莹的情况下。
Jene Nacht machte Zuo Xiaolong besonders zu schaffen. Ein rücksichtsloser Moskito biss eimal in seinen verletzten linken Mittelfinger, genau wo der Knochen brach. Es kitzelte so, aber man konnte nicht kratzen. Schmerzen konnte man schon aushalten, aber Kitzel nicht. Besonders wenn es kitzelte und man es aushalten musste, war es am schwersten. In diesem Augenblick dachte er an Schlamm. Plötzlich wollte er wissen, wie es diesem Mädchen ging. Morgen musste er mal zu ihr und erzählte ihr seine Verletzung, aber natürlich nachdem er zuerst die Chrysanthemenglanz traf.

第二天天亮，左小龙早早就醒来，他先要去温度计厂工作。为了这个工作，他要把牛仔裤反过来穿，然后把拉链拉开，方便把温度计塞到肛门里。第一批测试开始，等了三分钟后，他把温度计成品从腋下拔出一看，惊了，妈的三十九度。左小龙毫不犹豫将这支温度计塞到肛门里，拔出来一看，还是三十九度，他把刻度又甩了回去，塞到嘴里含了半天，拔出来一看，真是三十九度。这下要吃药了。左小龙是最不喜欢吃药的，他相信人类的身体可以自己解决一切问题，但处于职业道德，这个职业需要他有一个恒定的体温，他不得不吃了两片消炎药和退烧药。他真是不喜欢这个工作，但是为了摩托车的新引擎，他不得不做，到了今天他都再不愿走到那条街上去再听见那首钓凯子之歌，不过事情还没有结束，邪恶暂时压到了正义，邪恶继续着，正义爆缸了，这就是现状，但一切都会被扭转，在……未知的的将来。
Am nächsten Tag stand Zuo Xiaolong früh bei der Morgendämmerung auf und ging in die Thermometerfabrik zur Arbeit. Für diese Arbeit musste er seine Jeans umgedreht anziehen, damit er den Verschluss aufmachen und die Thermometer ins Arschloch stecken konnte. Die ersten Tests fingen an. Nach drei Minuten nimmt das Thermometer von seinem Unterarm heraus und wurde schockiert von dem 39 Grad. Er steckte das selbe Thermometer ins Arschloch und bekam wieder 39 Grad. Er schüttelte es nochmal und legte es in den Mund. Nach einer Weile las er wieder 30 Grad vom Thermometer. Nun musste er Medizin einnehmen. Medizin mochte Zuo Xiaolong nicht, er glaubte an die automatische Heilbarkeit des Körper von selbst, aber aus Berufsmoral — dieser Beruf verlangte von ihm eine konstante Körpertemperatur — nahm er entzündungshemmende Tabletten und Fiebermittel ein. Er mochte diese Arbeit überhaupt nicht. Aber für einen neuen Motor musste er es hinnehmen. Bis heute wollte er die Straße nicht mehr betreten, wo das "Freier-Angeln-Glied" abgespielt worden war. Aber es war nicht zu Ende. Vorläufig besiegte das Böse das Gute und existierte weiter, als das Gute expodierte. Aber so etwas konnte umgedreht werden, in der nicht voraussagbaren Zukunft.

但左小龙实在不能完成装盒和测试的工作了，他只能被劝回去休息。左小龙竖着中指，拖着高温的躯体在街上低头艰难步行。突然，他想去看看自己的大摩托车，在烈日下左小龙觉得还是有点冷，他得找些事情来分散注意力。他决定给自己的摩托车取一个名字。
Weitere Arbeit von Packen und Testen konnte Zuo Xiaolong nicht mehr schaffen. Er wurde nach Hause geschickt. Er richtete seinen linken Mittelfinger und ging mit fieberhaftem Körper bleiernes Schrittes auf der Straße. Plötzlich wollte er sein Motorrad sehen. Trotz der sengenden Sonne war es ihm ein bisschen kalt, er dachte, er musste Ablenkungen für sich suchen. Er beschloss sich, seinem Motorrad einen Namen zu geben.

正文第十六章
Kapitel 16

左小龙的脑海里冒出来的第一个名字就是“挑战者号”。但他觉得这个名字很耳熟，好像被谁用过，思前想后，出来的都是一些不能让自己满意的名字，诸如“大西洋”，不行，这个就像一个国产摩托的牌子，“所向披靡“也不好，这个“靡”字他不知道怎么写，“暗夜之星”也不好，感觉它是锦江之星的兄弟。
Ihm fiel zuerst "der Herausforderer" ein, aber zugleich schien dieser Name schon von anderen benutzt. Er grübelte darüber nach und konnte sich nicht entscheiden. Ein Name wie "der Atlantik" hörte sich an wie eine Marke inländischen Motorradherstelllers. "Alle Hindernisse wegzufegen" war auch nicht gut, das Wort "fegen" konnte er nicht buchstabieren. Eine andere Möglichkeit wäre "Stern der dunklen Nacht", aber das klingte im gewissen Maße wie die Hotelmarke "Stern des Jinjiang".

想着想着就到了修理店，看见自己的摩托车被拆散了洒落在地上，左小龙一阵伤心，左小龙特地把自己摩托车的零件稍微往一堆归置了一下，然后默默看着自己的摩托车，心里想，你真是可怜，连一个名字都还没有，我也没有给你上牌照，等于你连身份证都没有，你就已经被拆散了。你真是一坨无名英雄啊。
Denkend kam er in die Reparaturwerkstatt. Er sah sein Motorrad zerlegt auf dem Boden liegen und trauerte. Er häufte die Einzelheiten des Rades beiseite zusammen und sah es sich wieder schweigend an. "Du armer, du hast sogar keinen Namen. Ein Kennzeichen habe ich dir auch nicht gegeben. Du bist schon zerbrochen, bevor du einen Ausweis kriegst. Wirklich ein zerbrochener namenloser Held." dachte Zuo Xiaolong.

店主出来拍了拍左小龙的肩膀，想当年就是他帮这台摩托车调整的空燃比，现在缺已经物是车非。店主安慰道：没有问题的，发动机帮你找到了，两天就到了，你以前那台太老了，这台成色很好。
Der Geschäftsführer kam heraus und klopte ihm auf die Schulter. Er war genau der Mann, der das Einspritzverhältnis seines Motorrads angeglichen hatte. Nun war das Motorrad aber schon so verletzt. Der Geschäftsführer tröstete ihn: "Mach keine Sorge. Den Motor habe ich für dich gefunden. In etwa zwei Tagen werden er erhältlich sein. Der vorherige war zu alt. Und dieser ist genau raffiniert produziert. "

左小龙的体温瞬间回到了三十七度，但突然间想到自己钱还没凑齐，又回到了三十九度。他问：这么快，不是说差不多一个月么。
Bei diesen Worten fühlte Zuo Xiaolong, dass seine Temperatur auf den normalen 37 Grad gefallen ist. Aber zur gleichen Zeit dachte er an seinen Geldmangel und verspürte wiederum den Stieg auf 39. Er fragte: "So früh? Aber du hast die Dauer auf ungefähr einen Monat geschätzt."

店主道：哦，你女朋友过来，说快点找，我们让广东发的空运过来。
Der Geschäftsführer antwortete: "Ja. Aber deine Freundin kam zu mit und forderte eine Beschleunigung ein. Deshalb lassen wir der Motor von Guangdong per Luft schicken."
左小龙问道：什么，谁？
Zuo Xiaolong fragte: "Was? Wer?"

店主说：那个谁，我说不出来，她说你女朋友咯，她比你着急多了，她说你的摩托车早点修好你就早点能见她。我说你这男的也真是的，是你去泡妞又不是你的摩托车泡妞，你又不是用排气管干人家的，要等什么摩托车修好。
Der Geschäftsführer: "Wer war das, weiß ich. Sie sagte, sie sei deine Freundin. Sie schien es viel eiliger zu haben als du selbst. Sie sagte, wenn dein Motor früher repariert würde, könne sie dich auch früher sehen. Aber sag mal, warum soll es so sein? Sie ist die Freundin von dir aber nicht von deinem Motorrad, du brauchst das Rad nicht, wenn du mit deinem Mädchen ein Date hast."

左小龙暗自想到，这个泥巴真是的，自己就是因为没钱才想让这车修慢点，恨不能这发动机是自己发动一下然后从广东一路走过来的，现在直接空运过来，发动机费用不说，空运费又是一笔。
Ach die Schlamm, sagte Zuo Xiaolong zu sich, das Motorrad sollte langsam repariert werden, denn er hatte nicht genug Geld. Es wäre am besten, wenn der Motor selbst auch von Guangdong hierher fuhr. Aber wenn jetzt der Motor per Luft geschickt wurde, musste er dazu die Transportkosten bezahlen.

左小龙道：不过我明天要出差。大概要两三个礼拜才能回来。要不我回来以后再来取。你看行不。
Zuo Xiaolong sagte: "Aber morgen mache ich eine Dienstreise, sie kann ungefähr zwei bis drei Wochen dauern. Kann ich mein Motorrad nach meiner Rückkehr von der Dienstreise holen?"

店主道：行。
"Ok." sagte der Geschäftsführer.
左小龙一把搭住店主的肩膀，道：好了，我也不跟你瞎说了，我不出差，但我得等月底有了钱以后才能取，现在我取不了，你就先帮我装好弄好，然后就锁起来，我也不开走，隔天来看看就成。
Zuo Xiaolong legte die Hand auf seine Schulter und sagte: "Naja, Ich will dich nicht betrügen. Ich mache keine Dienstreise. Ich habe einfach kein Geld, es muss bis Ende dieses Monates warten. Bitte bring mein Motorrad zusammen und sperr es ab. Ich werde es nicht wegfahren, ich komme anderntags mal gucken."

店主说：你女朋友已经帮你把钱付了，可能还有富裕。
Der Geschäftsführer sagte: "Deine Freundin hat schon bezahlt. Es gibt vielleicht noch überschüssiges Geld."

左小龙心中一下不能名状，他匆忙告辞，回头看了自己的西风一眼，又回到温度计工厂开工。他觉得用了自己女人的钱真是全世界全无法让人接受的一件事情，自己必须赶紧赚钱把钱还了，否则还是不能去见泥巴。所以，对于泥巴来说，见面的时间是一样的。而在这个赚钱的紧要关头，他的中指又受伤了，这让左小龙很难再去找兼职，没有一个地方会要一个成天竖着中指的员工。
Ein unbeschreibliches Gefühl befiel ihn. Er machte in der Eile Abschied, winkte seinem Westwind mit einen Blick zu und kehrte zurück zur Arbeit in die Fabrik. Es war nicht hinzunehmen, das Geld einer Frau für sich zu benutzen. Er musste Geld verdienen und die Summe zurückgeben, so früh wie möglich, sonst traf er sich mit Schlamm nicht. Für Schlamm machte es zeitlich keinen Unterschied. Doch genau in diesem Augenblick war ihm ein Mittelfinger gebrochen, so konnte er keinen Nebenjob finden. Nirgendwo heuerte man einen Arbeiter an, der den ganzen Tag über einen Mittelfinger richtete.

正文第十七章
Kapitel 17

到了下午时刻，左小龙来到了大毛土菜馆，找到了刘必芒。刘必芒在向东的包厢里等候。这间包厢是刘必芒亲嘴设计的，但是估计员工在执行方面产生了一点误会，所以居然很有非主流的风格。刘必芒的设计理念是星光，他要求屋顶漆黑，然后画上白色的星星，后来有人告诉他，画上去不太好，感觉像发霉了，刘必芒就要求索性到位，用LED灯做成闪烁的星星。一年以后，劳斯莱斯的新款轿跑车也使用了这个设计——星空车顶。
Am den Nachmittag suchte Zuo Xiaolong Liu Bimang in seinem Damao-Lokal auf. Liu saß in dem östlichen Zimmer, dessen Ausstattung Liu selbst entworfen hatte. Mit einigen Missverständnissen bei der Durchführung von Lius Entwurf versah der Arbeiter das Zimmer mit einem sonderlichen Stil. Liu Leitgedanke war Sternlicht. Nach ihm sollte die Decke dunkel angestrichen und dann mit weißen Sternen bemalt werden. Ihm wurde aber vorgeschlagen, die Decke mit solcher Malerei sah verschimmelt aus. Deshalb ließ Liu die Sterne aus LED-Lichten machen. Genau so ein Design verwendete Rolls-Royce erst ein Jahr später bei seinem neuen Rennwagen — ein gestirntes Wagendach.

房间的顶是星空以后，刘必芒又突发奇想，说这样，要充分体现这个星空包房的的主题，不光星星是星星，明星也是星星，所以，在墙壁上要贴满明星们的脸的照片，而且要注意剪裁，只要他们的脸，这就能让人彻底感觉这个包厢星光熠熠。
Nach der Ausstattung der gestirnten Hausdecke kam Liu noch daauf, dass das Thema “Stern” nicht nur durch Sterne, sondern auch durch Popstars und Filmstars manifestiert werden sollte, weil Stars auch Sterne waren. Deshalb ließ er Fotots von Stars an die Wand kleben, dabei musste man auch mal darauf achten, dass nur die Gesichter der Stars auf den Fotots bleiben sollten, so strahlten sie das Zimmer durch.

因为刘必芒是个瞎子，而且平时不关心娱乐圈，所以这个任务就交给了领班，这个饭馆的领班和服务员都是当地人，但因为自己的家里房子都被外来务工人员租满，所以同住的时间一长，耳听目染，深得要领。老板一吩咐要找明星的大照片贴墙，都兴致昂然，这比抄菜谱有意思多了。

Weil Liu Bimang ein Blinder war und außerdem dem Entertainmentgeschäft normalerweise keine Aufmerksamkeit schenkte, übertrug er diese Aufgabe dem/der OberkellnerIn. Der/die OberkellnerIn und alle übrigen Angestellten dieses Restaurants waren Einheimische, doch ihre Häuser und Wohnungen wurden an Leute von auswärts vermietet, deswegen lebten sie zusammen. Sie wurden beeinflusst durch das was sie hörten und sahen und benötigten Führung. Als der Chef die Anweisung gab, große Fotos von Stars herbei zu schaffen und an die Wände zu kleben, hob das ihre Laune enorm. Schließlich war das viel interessanter als Rezepte abzuschreiben.

一番忙碌。

Im Restaurant herrschte reger Betrieb.

左小龙进门先看见了杨臣刚的大脸，而且仿佛是把照片贴在圆桌上裁出来的一般圆，这张脸足有两米乘两米那么大，这张大脸就确定了这个包房的功能发生了变化，不能再以吃饭为主了。在杨臣刚的旁边是庞龙的脸，这两大至尊的唯一区别就是庞龙的脸是两米乘以一米九。旁边散落了不少脸，他们的脸的大小仿佛是根据手机彩铃的下载率来决定的，这些脸都没有身体依附，直勾勾看着进房间的每一个人。

Als er eintrat, sah Zuo Xiaolong zuerst das große Gesicht von Yang Chengang. Das Gesicht war so rund, dass es schien, als ob man das ganze Foto auf einen runden Tisch gelegt und genau nach dem Tischrand geschnitten hätte. Das Gesicht erstreckte sich auf 2 m mal 2 m und damit veränderte es die Eigenheiten dieses Séparées, man konnte sich nicht mehr aufs Essen konzentrieren. Neben Yang Chengang hing das Gesicht von Pang Long. Der einzige Unterschied zwischen den zwei Fotos war, dass Pangs Foto 2m mal 1,9 m groß war. Daneben erstreckten sich nicht wenige weitere Gesichter, deren Größe sich scheinbar nach der Auflösung der Bilder bemaß, die man mit dem Mobiltelefon aus dem Internet herunter geladen hatte. Diese Gesichter waren alle an keinen Körper gebunden und starrten direkt auf jeden im Zimmer.

万幸的是，劳斯莱斯的新款轿跑车没有使用这个设计，确保了这个品牌的生命得以延续。
.

Zu ihrem Glück übernahm die Automarke Rolls-Royce in ihrem neuen Coupé nicht dieses Konzept, was den Fortbestand der Marke sicherte.

所有人到了这个包厢里都会情不自禁的往窗边走去，看着窗外。只有刘必芒才能视而不见地坐在沙发上和杨臣刚两人小眼瞪小眼。每次左小龙给刘必芒讲述亭林镇发生的事情的时候也基本都在这间让刘必芒很得意的包间里，刘必芒坐在沙发上，左小龙自己搬一个椅子正对这他，这样虽然可以不用看见杨臣刚，但一想到他在身后的墙壁上直勾勾看着你，不由背脊发凉，只想一股脑把该说的全说了，实在是扛不住啊，到了这样的环境里，估计刘胡兰都想招。

Jeder, der dieses Zimmer betrat, konnte nicht umhin ans Fenster zu treten und nach draußen zu schauen. Nur Liu Bimang konnte auf dem Sofa sitzen und Yang Chengang in die Augen schauen, ohne wirklich etwas zu erblicken. Grundsätzlich waren sie auch jedes Mal in diesem Zimmer, auf das Liu Bimang ziemlich stolz war, wenn Zuo Xiaolong ihm von den neuesten Ereignissen in Tinglin erzählte. Liu Bimang saß auf dem Sofa und Xiaolong saß ihm gegenüber auf einem Stuhl. Xiaolong brauchte zwar so das Gesicht von Yang Chengang nicht sehen, doch sobald er daran dachte, wie er von hinten angestarrt wurde, lief ihm ein Schauer über den Rücken. Dann wollte er nur so schnell wie möglich alles los werden, was er zu sagen hatte, denn er ertrug es wirklich nicht. In einer solchen Umgebung würde wohl sogar Liu Hulan alles gestehen.

总之，到了星光包厢，就有一个念头，那就是我说，我什么都说。
Alles im allen, man denkt nur, ich würde alles erzählen in diesem “gestirnten” Zimmer.

在窗外，剪彩仪式正在准备中。都说人瞎了以后其他触觉就会变得灵敏，此话没错，刘必芒的听觉就很厉害，所以刘必芒对这事大致有所听说，介绍道，这个印刷厂是出版界的知名人物路金波和黎波两人所开设，叫波波印刷厂，在图书出版的过程中，他们不光想赚取出版利润和发行利润，他们突然发现，还有一笔钱也是不能放过的，那就是印刷利润，路金波每年都做安妮宝贝韩寒等人的书，黎波他们签下了郭敬明的书和杂志，光他们自己的生意就足够支撑整个印刷厂了，所以他们要赚取在图书出版上所有的利润。当然，要除了和新华书店争夺销售利润，因为书都是五折批发给新华书店的，而新华书店属于国企，所谓国家利益大于一切，个人挣小头，大头给国家，这才是在中国发财的正道。
Daraußen war die Einweihungszeremonie in Vorfeld. Es wurde gesagt, dass die anderen Sinne würden scharfer, wenn man blind wäre. Das war richtig. Liu hatte ein feines Gehör und hatte etwas über die Druckerei belauscht. Diese Druckerei wurde geführt von zwei Berühmtheiten namens Lu Jinbo und Li Bo aus dem Verlagswesen, deshalb gaben sie der Druckerei den Namen “Verlag Bo-Bo”. Sie zogen nicht nur beim Verlegen und Herausgeben der Bücher, sondern auch beim Drucken große Profite. Lu ließ Bücher von Schriftstellern wie Annie Baby und Han Han herausgeben, Li machte Geschäfte mit Guo Jingming, einem anderen berühmten Schriftsteller und verlag seine Bücher und Zeitschriften. Allein ihre diese Geschäfte konnten die ganze Druckerei finanzieren. Sie wollten alle Gewinne verdienen aus dem Verlegen. Aber natürlich gab es eine Ausnahme, und zwar das Teilen der Nettoabsatz mit der Xinhua Buchhandlung. Die Xinhua Buchhandlung konnte die Bücher zu 50% der Landenpreise abkaufen, weil diese Buchhandlung ein Staatsunternehmen war. Und das Interesse des Staats ging allen anderen vor. Man verdiente selbst den kleineren Teil der Profite und überließ den größeren dem Staat. Dies war genau das, was man richtig tun sollte, wenn man in China Erfolge erzielen wollte.

左小龙叹气道：这帮孙子太黑了。
Zuo Xiaolong seufzte: “Die Typen sind aber zu schmählich.”

服务员端来两杯滚烫热茶，刘必芒吹了一口喝下，左小龙看得诧异，想莫非刘必芒的触觉也失去了。窗外锣鼓喧天，腰鼓队的大妈和学生们正在奏欢迎曲，一排人坐上了主席台。此时骄阳四射，空气温热，左小龙在他们斜上方的玻璃房里端着茶看他们，突然油然而生一种豪迈感，他觉得电影里，决定事情走向的真正幕后高手都是在他那个位置，端着一杯液体慢慢摇晃，隔着玻璃，看着下面的一堆人卖力表演，目光长远，镇定自若，举重若轻，胸有成竹，空调设定在二十二度。
Ein Laufbursche bediente sie mit zwei Tassen kochend heißen Tee. Liu blies nur einmal in die Tasse und nahm sich dann einen Schluck. Zuo Xiaolong wunderte sich, ob Liu auch der Tastsinn verloren ging. Daraußen heulten Gong und Trommel, alte Frauen aus der Trommel-Gruppe und junge Schüler sangen gerade ein Empfangslied, das eine Reihe Persönlichkeiten bis auf ein Podium begleitete. Die sengende Sonne schien und die Luft dämpfte. Zuo Xiaolong befand sich in dem Glaszimmer mit einer Tasse Tee in der Hand, das ihnen schräg gegenüber lag, und sah sie von oben an. Plötzlich ging ihm eine Stolz auf. Er fühlte sich in dieser Stelle wie der heimliche Drahtzieher in einem Film, der alles steuerte. Ein solcher Mann hielt ein Glas in der Hand und ließ die Flüssigkeit darin schwanken. Er schaute aus dem Fenster mit weitsichtigen Blicken nach unten, wo die Leute mit allen Kräften spielen. Er wirkte beruhigt, bedächtig und selbstbewusst. Die Klimaanlage wurde auf 22 Grad eingestellt.

当然，影视作品里一般这样的人也是要马上被狙击枪击中的。但左小龙会在思维里屏蔽掉一点。事情自然是多元的，但挑能用的用嘛，我们国家的宣传机构就是这么工作的，那人类本身的自我宣传机构当然更可以这样。

Na klar, normalerweise würde so jemand im Film bald von der Kugel eines Heckenschützen getroffen werden. Doch Zuo Xiaolong blendete diesen Gedanken in seinen Überlegungen aus. Die Dinge an sich waren vielschichtig, man musste zu nutzen wissen, was man nutzen konnte. So funktionierten auch die Propagandaapparate unseres Landes, und die Mechanismen der menschlichen Propaganda für die eigene Sache natürlich noch mehr.

突然间，礼炮毫无征兆的响了，左小龙被吓一跳，杯子里的水不小心晃落在地上几滴，他低头一看，又吓一跳，地上还有一张明星脸，定睛一看是雪村，水滴在他脑门上，他连忙用脚搓了几下，把水碾干。

Plötzlich ertönten ohne Vorwarnung Salutschüsse. Xiaolong erschrak und verschüttete etwas Teewasser auf dem Boden. Als er den Kopf senkte, erschrak er erneut. Selbst auf dem Fußboden gab es das Gesicht eines Stars, er erblickte Xue Cun. Die Wassertropfen waren auf seiner Stirn gelandet. hastig wischte er einige Male mit dem Fuß, bis sie weg waren.

礼炮之后，司仪上场，左小龙隐约听见了一些关键词，经济，繁荣，文化，唱戏，搭台，和谐，政府。

Nach den Salutschüssen trat die Zeremonienmeisterin auf. Xiaolong hörte nur undeutlich ein paar Schlüsselworte. Wirtschaft, Prosperität, Kultur, Opernaufführung, Grundlagen bilden, Harmonie, Regierung.

左小龙觉得黄莹要登场了，马上告辞刘必芒，下楼到了围观的人群里。一切虚假的英雄气概在马子面前都得现实一点，尤其是没有泡到的马子。

Xiaolong glaubte Huang Ying würde bald auftreten. Sofort verabschiedete er sich von Liu Bimang, und ging nach unten, um sich unter die Zuschauermenge zu mischen. All der falsche Heldenmut musste sich im Angesicht des Mädchens als wahrhaftig erweisen. Besonders im Angesicht eines Mädchens, das noch zu erobern war.

正文第十八章
Kapitel 18

但接下来登场的是波波印刷厂的大老板路金波，左小龙非常失望。同时他发现自己置身于了一堆小学生和初中生之间。他觉得很疑惑，为什么这个仪式会吸引那么多未成年人来，他来是为了听黄莹唱歌，属于“一小撮别有用心的人”，其他围观的人是当地的民工和老人们，都被纳入“不明真相的群众”，那些未成年人是来做什么的？

Doch als nächstes betrat der Boss der Bo-Bo-Druckerei, Lu Jinbo, die Bühne, Zuo Xiaolong war sehr enttäuscht. Gleichzeitig merkte er, dass er sich inmitten einer Traube von Grund- und Mittelschülern befand. Das kam ihm verdächtig vor, warum zog diese Zeremonie so viele Minderjährige an? Er war gekommen, um Chrysanthemenglanz singen zu hören und gehörte damit zu den Leuten, die ‚Hintergedanken hatten‘. Die übrigen Zuschauer waren hiesige Wanderarbeiter und ältere Menschen, die alle zu den ‚Massen, die die wahre Situation nicht kennen‘ gehörten. Wozu aber waren all die Kinder und Jugendlichen gekommen?

台上，路金波登场，下一个节目就是互赠礼物，当地的镇长代表政府送了他一个礼物，镇长说道，为了感谢这家全国最有影响力的印刷厂选择亭林镇，为亭林镇带来了文化韵味，所以，特地，政府为他准备了一个礼物……

Als Lu Jingo die Bühne betreten hatte, war der nächste Programmpunkt der Austausch von Geschenken. Der Bürgermeister übergab ihm im Namen der Regierung ein Geschenk. Der Bürgermeister sagte, die Regierung mache ihm das Geschenk zum Dank dafür, dass sich diese landesweit höchst einflussreiche Druckerei in Tinglin niederließ und damit zur kulturellen Bedeutung des Ortes beitrug....

礼仪小姐端着一个物体走上台，物体上被红布遮盖，台下的人伸长了脖子，只有学生们有点不耐烦。
Eine Empfangsdame ging ein Ding mit zwei Händen haltend auf die Bühne, es wurde von einem roten Tuch bedeckt. Die unter der Bühne stehenden Leute streckten ihre Halse weit aus, nur die Schüler wurden ungeduldig.

礼仪小姐捧着礼物走到路金波面前，镇长满面春光走来，笑意和肥肉都在脸上荡漾，在迎宾彩条下，他掀开了红布，是一台被喷涂成了金色的打印机，因为离得远，在下面的群众一时没明白过来这是什么，路金波也呆在原地一脸惊诧，气氛一时陷入不知所云的境地。在台下的镇长秘书赶紧带头鼓掌起来，稀稀拉拉的掌声响起来。镇长点了点头，路金波终于回过神来，收下了这金色的打印机。

Die Hostess trat mit dem Geschenk vor Lu Jinbo. Der Bürgermeister ging auch mit strahlendem Gesicht hinüber, Lächeln und Fett wogten in seinem Gesicht. Unter dem Willkommensbanner nahm er das rote Tuch ab und enthüllte einen goldfarben besprayten Drucker. Aus der Ferne konnten die Zuschauer nicht auf der Stelle erkennen, was das Geschenk war. Auch Lu stand erstaunt an seinem Platz. Es herrschte kurzzeitig eine seltsam unangenehme Atmosphäre, dann begann der Sekretär des Bürgermeisters eifrig zu klatschen und vereinzelter Beifall kam auf. Der Bürgermeister nickte, endlich kam auch Lu wieder zu Bewusstsein und nahm den goldenen Drucker in Empfang.

台下的群众果然不明真相，纷纷相传道，好大的一块金砖啊。

Die Zuschauer vor der Bühne wussten nicht, was das eigentlich war und fragten sich einer nach dem anderen, was für einen Goldziegel der Kerl denn da bekommen hatte.

镇长拿起话筒，说道：这是一台打印机，但是，我们特地精心把他喷成了金色，象征着我们祝愿波波印刷厂生意兴隆，特地要说的是，这个涂料也是我们镇上的大刚涂料厂生产的，这也象征着，在市委市政府的关心下，区委区政府的领导下，我们亭林镇的经济得到了良性发展，科学发展，和谐发展，形成了一个产业链，也希望，越来越多的像波波印刷厂这样的企业来亭林镇发展，最后，我祝愿波波印刷厂，事业蒸蒸日上，能为社会做出最大的贡献！
Der Bürgermeister nahm sich das Mikrofon und sagte: "Das ist ein Drucker. Wir haben ihn absichtlich gold lackiert. Das symbolisiert, dass wir der Bo-Bo Druckerei glänzendes Geschäft wünschen! Eins ist noch besonders zu erwähnen, dieser Lack wird von der Dagang Lackfabrik in Tinglin produziert. Dies ziegt wiederum, unter der Leitung des Parteiausschusses und der Regierung von der Stadt und der Gemeinde erlebt sich unsere Wirtschaft eine gute, wissenschaftliche und harmonische Entwicklung und da entsteht eine Produktionskette. Wir hoffen, dass sich immer mehr Benehmen wie die Bo-Bo-Druckerei bei uns in Tinglin niederlassen können. Zum Schluss wünsche ich, dass die Druckerei aufblüht und den größten Beitrag zur Gesellschaft leisten kann!"

镇长的结尾慷慨激昂，音响不能承受都发出了破音，但是在这破音里，镇长秘书依然头脑清醒，带头鼓掌起来。

Seine Rede endete überschwänglich. Die Soundanlage hielt das nicht aus, seine Stimme wurde verzerrt. Doch auch unter diesen Verzerrungen war der Sekretär geistesgegenwärtig und begann zu klatschen.

群众稍微有点失望，原来不是金砖啊。
Die Zuschauer waren irgendwie enttäuscht: Das Ding ist letztendlich kein Goldziegel.

但路金波却在台上显得有点局促不安，几番欲言又止。司仪接话道：镇长说的非常好，那我们的下一个议程就是由波波印刷厂的总经理，也是著名的图书出版人，路金波先生，赠送礼物。

Herr Lu aber wirkte auf der Bühne etwas nervös. Einige Male setzte er zum Reden an und zögerte doch. Die Zeremonienmeisterin übernahm das Wort: "Unser Bürgermeister hat wirklich gut geredet. Nun kommen wir zum nächsten Punkt. Der Manager der Bo-Bo-Druckerei und berühmte Verleger, Herr Lu Jinbo, wird sein Geschenk übergeben."

接着，另外一个礼仪小姐端着一个由红布遮盖的物体走上台来。她走到镇长面前停下，司仪假装幽默道：看来也是一件神秘的礼物，下面我们欢迎路金波先生为我们揭开这件礼物神秘的面纱。
Anschließend brachte eine andere Empfangsdame eine Sache auf die Bühne, die ebenso mit einem roten Tuch bedeckt wurde. Sie ging bis vor den Bürgermeister. Der Zeremoniemeister versuchte humorisch zu moderieren: "Es scheint auch ein geheimnisvolles Geschenk zu sein. Jetzt bitten wir Herrn Lu, dieses Geheim zu entschleiern. "

=Han_Han_Ta_de_guo_4 吴瑾如 Wu Jinru=

正文第二十五章
Kapitel 25
闪爵读书ww.shanjue.com:2009-2-20 22:52:55 本章字数:8623

左小龙一听周围都是引擎声。估计自己也解释不过来，连忙拧油门就跑。后面七八台摩托车紧紧追着，左小龙地摩托车带了一个人。极速有所下降.

Zuo Xiaolong hörte von allen Richtungen Motoren schreien. Er war in der Lage, gut zu erklären und konnte nur am Gashebel drehen und schnell wegfahren. Nach ihm folgten sieben oder acht Motorräder. Auf Zuo Xiaolongs Motorrad saß ein anderer Mensch und die Maximalgeschwindigkeit verlangsamte sich.

最快只能到120，但后面的摩托车排量更小，而且车况不佳。虽然占了重量的优势。但顺风下坡极速也只能到110，他们只能百爪挠心的目送左小龙以微弱优势远去。在亭林镇和天马镇的界处，他们把摩托车停了下来，灰心地感叹道：亭林镇连黑车都比我们的要快啊。

Zwar konnte er deshalb nur maximal 120 km/h fahren, allerdings war es um den Hubraum und den allgemeinen Zustand der ihm folgenden Motorräder noch schlechter bestellt. Und das, obwohl sie deutlich weniger Gewicht zu tragen hatten. Selbst mit Rückenwind und bergab erreichten sie nur eine Höchstgeschwindigkeit von 110 km/h. Sie konnten einfach nur wütend dabei zusehen, wie Zuo Xiaolong immer mehr an Distanz gewann und in die Ferne fuhr. An der Grenze von Pavillonwald und Tianma stoppten sie schließlich entmutigt ihre Maschinen und seufzten: „Die unlizensierten Fahrzeuge aus Pavillonwald sind deutlich schneller als unsere.“

左小龙以极速开了十几公里，终于到了亭林镇界内。回头对手已经没有追击的意思，突然间引擎又是一阵突突，车突然，缓缓滑行，停在路边。

Zuo Xiaolong behielt noch für mehr als zehn Kilometer die Maximalgeschwindigkeit bei, bis sie endlich innerhalb Pavillonwald ankamen. Er wandte den Kopf und bemerkte, dass seine Verfolger ihnen nicht mehr auf den Fersen waren. Plötzlich erklang aus dem Motor ein heftiges „Tu, Tu“, dieser ging langsam in den Leerlauf über bis sie am Straßenhand hielten.

左小龙脸色发白。突然想起来新发动机还没磨合好就这么开极速，该不会是……

Zuo Xiaolong wurde ganz blass. Der Motor war noch nicht richtig eingefahren worden, er sollte doch nicht etwa…

他下了车。呆呆的看着。问泥巴：泥巴。会不会……会不会又爆缸了?

Er stieg ab und starrte mit leerem Gesichtsausdruck auf seine Maschine. Dann fragte er Ni Ba: „Könnte…, könnte der Tank explodiert sein?“

泥巴也是一头雾水，爆缸对她来说是个全新的词汇，在初见左小龙地时候已经认识到了，但又见左小龙又遇到这个情况，她正在反应是不是摩托车每骑一次都必须要爆缸。

Ni Ba war verwirrt. ‚Tank explodieren‘ war für sie eine völlig neue Formulierung. Bei ihrem ersten Treffen mit Zuo Xiaolong hatte sie es schon kennengelernt und nun kam es wieder zu solch einer Situation. Sie überlegte, ob nicht vielleicht bei jeder Fahrt der Tank eines Motorrades explodieren müsse.

=Han_Han_Ta_de_guo_6 肖玉 Xiao Yu=

黄莹不屑道：爱情歌曲怎么了，以前每次都是替别人唱歌。唱的都是别人安排地歌。这次我自己终于有歌了，我唱个自己的歌还不行?我地歌当然得是爱情歌曲。你还打算让我自己的歌还是革命歌曲啊。

Huang Ying sagte abschätzig: „Was ist das Problem mit einem Liebeslied? Früher habe ich immer für die anderen gesungen. Die Lieder wurden alle von den anderen gewählt. Diesmal habe ich endlich ein Lied für mich selbst. Ich darf mein eigenes Lied nicht singen? Natürlich muss mein Lied ein Liebeslied sein. Du denkst wohl, meins sollte ein Revolutionslied sein?“

左小龙接话道：不是不是，就是，这歌是不是竞争起来吃亏一点啊。

Zuo Xiaolong sagte: „Nein, nein. Aber dieses Lied ist vielleicht ein bisschen schwach gegenüber der Konkurrenz.“

黄莹说道：是啊。当时我地制作人也这么想，也想歌颂一下亭林镇地发展什么的，词都想好了，是“在亭林生活。我们很快活”。但是实在找不到什么地方可以把这句话给插进去地。你看，就让我如愿坠落，如你烟头坠落。眼神变得落寞，在亭林生活。我们很快活，这实在不合适啊，反正只要加了这句话，名次就能上升一位。我问过评委了。他们都是这么说地，说光有爱情不行。最好能把去年书记提出地“三个发展四个必须五个有利于”给写进歌里去。

Huang Ying sagte: „Ja. Mein Produzent hat damals auch so gedacht. Auch er wollte die Entwicklung Pavillonwalds loben. Er hat sich sogar schon einen Text ausgedacht: ‚Wir leben in Pavillonwald. Wir sind glücklich.‘ Aber er konnte keine Stelle finden, wo er diesen Satz einfügen konnte. Schau mal: ‚Dann lass mich fallen, wie ich will, wie deine Zigarettenspitze. Auch wenn meine Augen einsam werden, leben wir in Pavillonwald, sind wir glücklich.‘ Das passt nicht wirklich zum Lied. Aber wenn dieser Satz im Lied ist, schneide ich besser ab. Ich habe die Jury gefragt. Sie haben alle gesagt, dass Liebe allein nicht genug ist. Am besten sollte ich ‚drei Entwicklungen, vier Erfordernisse und fünf Vorteile‘ in den Text einbauen.“

左小龙问：那你怎么办?

Zuo Xiaolong fragte: „Was willst du dann machen?“

黄莹说道：老娘才不从呢，我一直给他们卖艺地，让我唱这么恶心地歌，还不如让老娘去卖身呢。

Huang Ying antwortete: „Ich gebe nicht nach. Ich war immer Entertainerin. Wenn ich dazu gezwungen werde, ein so ekelhaftes Lied zu singen, will ich lieber eine Dirne sein.“

左小龙听得心惊肉跳。不知道说什么好。只好念起歌词来。他。燃烧了自己地白丁恤。再告诉我……

Vor diesen Worten erschrak Zuo Xiaolong. Er wusste nicht, was er sagen sollte. Er konnte nichts tun, als den Text vorzulesen: „Er verbrennt sein weißes T-Shirt und sagt mir...“

黄莹突然间打断他。说：喂!

Huang Ying unterbrach ihn plötzlich: „Hey!“

左小龙一惊。烟头坠落在纸上，

Zuo Xiaolong war überrascht. Sein Zigarettenstummel fiel auf das Papier.

黄莹把纸收过，道：别想歪了，歌词里没说你啊。

Huang Ying nahm das Papier und sagte: „Denk bloß nichts falsches. In dem Text geht es nicht um dich.“

左小龙只能傻笑。

Zuo Xiaolong konnte nur peinlich lachen.

黄莹发动小踏板，道：我走了。再见啊。

Huang Ying startete ihren kleinen Roller und sagte: „Ich gehe jetzt. Tschüss.“

左小龙只能毫无新意地送上祝福道：再见啊，我们文艺晚会上见。你一定能拿第一的。

Zuo Xiaolong konnte ihr nur seinen Segen geben: „Tschüss, bis zum Wettbewerb. Du kannst sicher den ersten Platz erreichen.“

黄莹停车回头说道：不可能是第一地，我们都是在争夺第二。第一当然就是亭林镇合唱团了。对了。你的合唱团叫什么名字?

Huang Ying stoppte und drehte sich um: „Der erste Platz ist unmöglich zu erreichen. Wir konkurrieren um den zweiten. Der erste gehört natürlich dem Pavillonwald Chor. Übrigens, wie heißt dein Chor eigentlich?“

左小龙怔了半饷。小声道：叫……亭东村合唱团。

Zuo Xiaolong starrte für eine lange Zeit in die Leere und sagte leise: „Er heißt... Ostpavilloner Dorfchor.“

波波杯亭林镇文艺大赛在炎炎夏日里准时开始了。这一天让整个镇地土著居民都有了盼头，在会场里终于可以随意讲着本地语言。在比赛临近的日子里。这里的文艺气息明显加重。空场上经常出现训练地人群。人人都在评说。五万元的大奖究竟要被谁拿走。但是，大家都觉得官方组织的亭林镇合唱团是最有机会地，而且这个合唱团唱地是亭林镇的最新出炉的镇歌——《颂亭林》。这首歌的作词原来是文化站地同志们。但是后来因为镇长对此产生了兴趣。所以镇长写了一稿。再后来书记听说能作词，书记又写了一稿。最后，在所有从亭林镇走出的官员中，现任职务最高的省宣传部部长袁部长听闻此事。表示也要写一稿。亭林镇当然不敢怠慢。加上袁部长极有可能上调北京，所以火速将袁部长请回亭林镇，让他进行创作的采风，镇里表示。亭林镇地发展一日不见。如隔三秋，袁部长在外当官多年。承蒙当年袁部长打下地厚实基础。亭林镇现在的发展超乎了想象。所以。本着实事求是地精神。还是希望袁部长来走走。

Die Soiree des Bo-Bo-Wettbewerbs von Pavillonwald fand pünktlich im heißen Sommer statt. Dieser Tag ließ alle Einwohner der Stadt gespannt sein. Endlich konnte der lokale Dialekt beliebig im Saal gesprochen werden. Als sich der Tag des Wettbewerbs näherte, wurde die künstlerische Atmosphäre hier offensichtlich stärker. Auf den leeren Plätzen tauchten oft probende Gruppen auf. Jeder riet, wer den Preis von 50.000 Yuan gewinnen würde. Aber alle glaubten, der offiziell organisierte Chor Pavillonwalds hatte die größte Chance. Dieser Chor würde das neuste Stadtlied Pavillonwalds, „Das Pavillonwaldlied“, singen. Der Text wurde ursprünglich von den Genossen der Kulturstation geschrieben. Aber später interessierte sich der Bürgermeister auch dafür. Deshalb schrieb er einen Text. Dann hörte der Sekretär, dass man den Text schreiben konnte. Er schrieb noch einen. Zuletzt hörte es Propagandaminister Yuan, der die höchste Stelle unter allen aus Pavillonwald kommenden Leuten hatte, und meinte, er wollte auch einen Text schreiben. Die Führungsriege Pavillonwalds wagte natürlich nicht, ihn abzulehnen. Außerdem würde Minister Yuan sehr wahrscheinlich nach Beijing befördert werden. Deswegen luden sie Minister Yuan möglichst schnell nach Pavillonwald ein, damit er Inspiration für sein Schaffen bekommen konnte. Pavillonwald entwickelte sich so schnell, dass ein Tag wie drei Jahre verging. Minister Yuan arbeitete viele Jahre in anderen Städten. Dank seiner guten Grundlage durch die Arbeit von Minister Yuan überstieg die Entwicklung Pavillonwalds die Vorstellungskraft. Mit dem Willen, die Wahrheit in Tatsachen zu suchen, hofften sie, dass Minister Yuan nach Pavillonwald kam.

袁部长来到亭林镇后，参观了工业园区。刚下车就被一只西瓜大小地蛤蟆吓了一跳。经过陪同人员的介绍。袁部长笑道，果然超乎想象啊。

Nach der Ankunft des Ministers Yuan in Pavillonwald besuchte er den Industriepark. Als er ausstieg, bekam er einen Schreck wegen einer Kröte, die so groß wie eine Wassermelone war. Nach einer Erklärung seiner Begleitpersonen lachte er: „Das übersteigt wirklich meine Vorstellungskraft.“

陪同人员连忙称是。这比大跃进反生物规律多了。

Die Begleitpersonen stimmten schnell zu: „Das ist gegen die Gesetze der Natur, sogar noch mehr als während des Großen Sprungs nach Vorn.“

袁部长一路走。一路吟诗。他地秘书都将他地诗记录了下来，镇上陪同人员只要看见袁部长一开口。就连声称赞道：好诗。好诗，部长文采不减当年啊。

Der Minister Yuan las Gedichte vor, während er lief. Sein Sekretär zeichnete all seine Gedichte auf. Die Begleitpersonen der Stadt priesen wiederholt: „Gutes Gedicht. Gutes Gedicht. Ihr literarisches Talent nimmt nie ab.“

袁部长都会回答：素材嘛。都是靠积累的。

Minister Yuan antwortete immer: „Das liegt am Material, das ich immer ansammle.“

整个考察地过程非常地愉快，唯一出地纰漏就是有一次。袁部长开口吟了几句，旁边的人连忙说道：好!好诗!

Der ganze Inspektionsprozess war sehr angenehm. Es passierte nur ein einziger Fehler. Einmal las Minister Yuan etwas vor und eine Begleitperson sagte sofort: „Gut! Gutes Gedicht!“

袁部长不悦道：好个屁，我在接电话。

Minister Yuan wurde sauer: „Gut am Arsch. Ich telefoniere gerade.“

陪同人员脸色大变。连赔不是道：不好意思部长。我们没看到你拿起电话。

Den Begleitpersonen wich die Farbe aus ihren Gesichtern. Sie entschuldigten sich schnell: „Entschuldigung Herr Minister. Wir haben nicht gesehen, dass Sie Ihr Handy genommen haben.“

袁部长把无线地耳机摘下，道：蓝牙耳机你都不知道。怎么部署科学地发展观?

Minister Yuan zog seine kabellosen Kopfhörer heraus und sagte: „Sie haben noch nie von Bluetooth-Kopfhörern gehört? Wie wollen Sie dann das Konzept der wissenschaftlichen Entwicklung durchsetzen?“

陪同人贡惊诧道：我还以为是助听器呢。

Eine Begleitperson war überrascht: „Ich dachte, das wären die Hörgeräte.“

袁部长的秘书连忙打断道：你怎么说话地?

Der Sekretär unterbrach sofort: „Wie können Sie so etwas sagen?“

袁部长说：罢了。罢了。夏风羽，童言无忌。

Minister Yuan sagte: „Das reicht, das reicht. Xia Fengyu, die Worte eines Kindes sind arglos.“

陪同人员忙拍手道：好诗!

Die Begleitpersonen klatschten schnell: „Gutes Gedicht!“

在袁部长的采风之旅结束后，镇上地书记将曲子和歌词以及伴奏送到了袁部长的房间。袁部长拿起歌词。一看，道：这不是已经有歌词了嘛?

Nach der Inspirationsreise des Ministers Yuan sendete der Sekretär Melodie und Text ins Zimmer des Ministers. Minister Yuan nahm den Text und als er ihn las, fragte er: „Das Lied hat schon einen Songtext?“

书记连忙说道：不是，这不是正式地歌词。这只是为了方便部长填词特地先搞地一个样本。

Der Sekretär sagte sofort: „Nein. Das ist kein endgültiger Text. Das ist nur ein Muster für Sie, damit Sie den Text leichter füllen können.“

部长看了看。道：哦，是这么回事。但我看了这个词，影响我的发挥，你还是让人都画成框框。该写词的地方就画一个框框，这样我就知道那里要加几个字。

Der Minister schaute auf das Papier und sagte: „Ach so. Aber wenn ich diesen Text lese, beeinflusst er mein Schaffen. Sie sollen Rahmen malen lassen. Es soll einen Rahmen geben, in den ich ein Schriftzeichen schreiben kann. Dann weiß ich, wie viele Zeichen ich schreiben sollte.“

书记道：这个办法好，这样避免了先入为主。

Der Sekretär sagte: „Das ist eine gute Idee, so vermeidet man, dass Sie beeinflusst werden.“

部长又看了看，问道：这个词是谁写地嘛?还是不错地。不用多可惜啊。

Der Minister schaute wieder auf den Text und fragte: „Wer hat diesen Text geschrieben? Der Text ist schon sehr gut. Es wäre schade, wenn dieser Text nicht benutzt würde.“

书记忙说：不要紧。不要紧，这个是我写着玩的。

Der Sekretär sagte eilig: „Macht nichts, macht nichts. Den habe ich nur zum Spaß geschrieben.“

部长说：写着玩就写得很不错啊。

Der Minister sagte: „Nur zum Spaß haben Sie schon sehr gut geschrieben.“

书记连忙改口说：不是不是，这个我是写了有一段时间地。花了很多脑筋的。但是一直不满意，早就听说部长的文采好，当年号称是华东八支笔之一啊，所以大家都想到了请你来写。我这个就当是给你参考参考，就当是给你充当充当框框嘛。你这个笔那么一润色。哦。不是润色……书记忙把自己那稿抓回，嘱咐人全部涂掉。继续道：你这个笔一创造。肯定人口传唱。我们定下来了。每天上班后下班前都要组织各个基层地干部学习歌唱这首镇歌，我这才华，压力有点大啊。

Der Sekretär änderte seine Worte schnell: „Nein nein. Das hat mich eine lange Zeit gekostet. Ich habe mir darüber viele Gedanken gemacht. Trotzdem bin ich damit immer noch nicht zufrieden. Ich habe schon länger gehört, dass Sie literarisch begabt sind. Damals wurden Sie einer der besten acht Stifte in Ostchina genannt. Deshalb wollen alle, dass Sie den Songtext schreiben. Mein Text ist eine Referenz für Sie, wie ein Rahmen. Sie können den Text verbessern. Oh, nicht verbessern...“, der Sekretär nahm seinen eigenen Text sofort zurück und ließ ihn streichen. Er sagte weiter: „Sie, der beste Stift, schaffen einen Text. Ihr Text wird von jedem gesungen. Wir haben schon geplant, dass der Leiter jeder Basiskader jeden Tag vor und nach Feierabend das Stadtlied lernen muss. Mit meinem Talent wäre der Druck auf mich zu groß.“

部长哈哈大笑道：好，那我试一把。

Der Minister lachte laut: „Ok. Dann versuche ich es.“

在离开亭林镇前，部长就把歌词填好了，镇里马上组织合唱团学唱，书记看着歌词。觉得虽然和自己写地那稿不一样，但还是有点眼熟，一直到唱地时候，才发现原来那是镇长那稿和文化站那稿的结合体。但这也是情有可原地，官方歌曲。就那么点屁事和破词。经过了四个人之手，好比搓麻将。就那么一百多张牌，肯定大家手里都有重样的。很正常，但部长官大。所以最后一定是要用部长那一稿地。又好比搓麻将。谁职位高谁最后肯定赢。很正常。

Bevor der Minister Pavillonwald verließ, hatte er den Text ausgefüllt. Die Führung der Stadt sorgte sofort dafür, dass der Chor das Lied lernte. Der Sekretär schaute auf den Text und fühlte, obwohl dieser Text anders als sein eigener war, dass er ihm doch sehr vertraut war. Als der Chor das Lied sang, entdeckte er, dass der Text eine Kombination des Texts vom Bürgermeister und dem der Kulturstation war. Aber das ließ sich entschuldigen. Es ging in offiziellen Liedern immer um dieselbe Scheiße. In den Händen von vier Personen war es wie Mah-Jongg spielen. Es gab nur über hundert Karten. Bestimmt hatten alle einige gleichen Karten. Das war sehr normal. Aber der Minister hatte den höchsten Platz. Deshalb musste der Text des Ministers letztendlich angewandt werden. Das war auch ähnlich wie Mah-Jongg spielen. Wer den höchsten Platz hatte, der gewann immer. Das war sehr normal.

众所期盼的一个夜晚到来了，这一天地夜色格外好，被污染成红色的天空映衬着晚霞。带着酸味地惊风缓缓吹来。亭林镇地镇民早早就吃好了晚饭，在亭林镇大礼堂外。很多没有得到票地观众都聚集在河边，准备听现场直播。大礼堂地门口甚至都铺起了红地毯，这......是亭林镇第一次搞如此大型地活动。每个领导都穿的不敢怠慢。经过安排，镇上的文艺工作者都被组织了起来，充当记者。这样，一共有五个文字记者，三个摄影记者，两个摄像记者。一个场外主持记者。每当有领导出现，务必保证有十个人簇拥上去，进行提问。虽然这些人可能昨天晚上刚和领导在搓麻将。但是在这个正式的场合里，还是要做好自己的本分工作，那就是制造排场。

Der von allen erwartete Abend kam endlich. An diesem Abend war der Himmel besonders schön. Der verschmutzte rote Himmel passte gut zur Abendröte. Der Wind wehte langsam und mit saurem Geschmack. Die Bewohner Pavillonwalds aßen ihr Abendbrot sehr früh und warteten außerhalb des großen Saals in Pavillonwald. Viele Zuschauer, die kein Ticket bekommen hatten, versammelten sich am Fluss. Sie waren bereit, die Liveübertragung zu hören. Am Tor des Saals wurde sogar ein roter Teppich ausgebreitet. Das … war das erste Mal, dass diese Stadt eine so große Veranstaltung hielt. Jeder Leiter zog sich formell an. Nach Plan wurden die Literatur- und Kunstschaffenden organisiert, als Journalisten zu arbeiten. So gab es insgesamt fünf Journalisten für den schriftlichen Bericht, drei für das Video, zwei für Fotos und einen für den mündliche Bericht außerhalb des Saals. Jedesmal wenn ein Leiter erschien, mussten zehn Leute sich um ihn drängen und Fragen stellen. Obwohl diese Leute vielleicht gestern Abend noch mit dem Leiter Mah-Jongg gespielt hatten, mussten sie in dieser offiziellen Situation ihre Arbeit gut machen. So produziert man halt so eine Show.

主席台的第一排就在台下。按照官位的大小入座，央视来的栏目组导演被安排坐在书记的旁边。毕竟算是中央来地人。而路金波则坐在书记地右边，他是这个节目的赞助商，也是亭林镇地大客户。路金波身着一身藏青的中装，胸前别着大红花，与在场的领导亲切地交流着。

Die erste Reihe des Podiums war genau unter der Bühne. Nach Höhe seiner Stellung setzte man sich. Der Regisseur des Programms aus CCTV wurde neben dem Sekretär platziert, weil er schließlich aus dem Zentrum war. Lu Jinbo saß rechts neben dem Sekretär. Er war der Sponsor des Programms und auch ein großer Kunde Pavillonwalds. Er trug einen marineblauen chinesischen Anzug und eine große rote Blume vor seiner Brust. Er redete freundlich mit den anwesenden Leitern.

正文第四十四章 Kapitel 44

亭林镇的大礼堂一共能容纳六百多人，同时也是电影院的唯一大厅，这个大礼堂坐落在河边。正在进行改造，现在正改造一半，礼堂里能容纳八百多人。加了两百多个座位。这次的售票充分采用了铁道部门的规章，分为软座。硬座。加座以及站票。门口票和窗票，软座一共400席，是电影院地改造计划中的一部分。软座地票50元一张。但基本都由关系户预留，硬座票400引毛，票价三十元，对老百姓开放，采用了身份证登记然后再抽签的奥运开幕式法则，这样也可以避免外地人地混入，加座是十五元一张。同样要凭本地身份证购买，站票十元一张。一样也需要本地身份证。接着就是大礼堂门外地看票了。大礼堂有三个门洞。每个门洞都可以看到会场和舞台。因为大礼堂本身有台阶，门洞是在台阶上地，这样就方便了管理。只要购买看票的。放上台阶就可以。其他人在外面听广播。最后一档为窗口看票。两元一张，唯一地缺点就是看不到舞台和容易起雾，它只能看到观众席，但可以根据观众席上地反应来揣测舞台上地节目。是喜欢意淫的朋友的最爱过来捧场地观众明显超过了主办方的预期，而且因为站票的不可控制，所以会场里至少挤了得有两千人，密度超过了春运地火车。

Der große Saal Pavillonwalds konnte mehr als sechshundert Personen fassen. Er war gleichzeitig auch der einzige Saal des Kinos. Der Saal befand sich am Fluss und wurde gerade noch renoviert. Momentan war er halb renoviert und konnte über achthundert Personen fassen. Mehr als zweihundert Plätze wurden hinzugefügt. Der Ticketverkauf wurde diesmal anhand der Regeln des Fahrscheinverkaufs betrieben. Es gab Polstersitze, harte Sitze, hinzugefügte Sitze und Stehplätze sowie Schautickets und Fenstertickets. Es gab vierhundert Polstersitze. Sie waren ein Teil der Renovierungspläne. Der Preis eines Polstersitzes betrug fünfzig Yuan, aber normalerweise wurden sie schon von Leuten, die Beziehungen hatten, reserviert. Der Preis eines harten Sitzes betrug dreißig Yuan. Solche Sitze waren für das Volk. Die Leute mussten sich zuerst mit ihrem Ausweis anmelden und auf die Ergebnisse einer Auslosung warten. So konnte man die Auswärtigen aus dem Saal ausschließen. Ein hinzugefügter Sitz kostete fünfzehn Yuan, ein Stehplatz zehn und für beide brauchte man auch einen lokalen Ausweis. Dann kam das Schauticket außerhalb des Saals. Der Saal hatte drei Türöffnungen. Durch jede Türöffnung konnte man den Saal und die Bühne sehen. Weil der Saal Treppen hatte und die Türöffnungen auf den Treppen waren, war es einfach zu regulieren. Diejenigen, die ein Schauticket kauften, konnten einfach auf den Treppen stehen. Die anderen konnten draußen alles im Radio hören. Das letzte Ticket war das Fensterticket. Das kostete zwei Yuan. Der einzige Nachteil war, dass man von den Fenstern aus die Bühne nicht sehen konnte und leicht im Nebel stand. Man konnte durch das Fenster nur den Zuschauerraum sehen. Aber man konnte nach den Reaktionen der Zuschauer, die Programmpunkte erraten. Das war die Lieblingsaktivität der Leute, die sich gerne Sachen vorstellten. Es kamen viel mehr Zuschauer als erwartet und noch dazu konnte man die Stehplätze nicht kontrollieren. Deshalb waren mindestens zweitausend Leute im Saal. Es war enger als im Zug während der Reisewelle zum Frühlingsfest.

左小龙也来了，但他只是一个观众。他得到了一张加座的票。大帅没能够买到票，只能带着他们招收地哑小孩在外面凑热闹，左小龙本来想给泥巴也买一张，但是他没有买到。因为泥巴没有身份证，左小龙这段时间情绪低落，他实在是没有能够做成任何事情，而且因为惦记着早点还泥巴钱。工作过于劳累。吃地太没营养。导致了肛门发炎。纵然这样。他还是把插在自己屁眼里的温度计数量提升到了六只，这已经是极限了，再多。温度计的壁就不能碰到皮肤了。只能测量个屁温度了，而且最近温度计厂特别忙，好像接到了一个大订单。每天都赶工。左小龙快支撑不住。这个夜晚是他难得可以轻松的夜晚。

Zuo Xiaolong kam auch. Aber er war nur ein Zuschauer. Er hatte ein Ticket für einen hinzugefügten Sitz bekommen. Daschuai konnte kein Ticket kaufen. Er konnte nur draußen mit den von ihnen angeworbenen Stummen bleiben, um ebenfalls am Spaß teilzuhaben. Zuo Xiaolong wollte auch ein Ticket für Niba kaufen, aber er konnte nicht, weil Niba keinen Ausweis hatte. Zuo Xiaolong litt in dieser Zeit unter Niedergeschlagenheit und brachte nichts zustande. Außerdem machte er sich Sorgen, weil er fand, dass er Niba das Geld früh zurückgeben sollte. Er war wegen seiner Arbeit zu müde und aß zu schlecht. Das führte zu einer analen Entzündung. Trotzdem erhöhte er die Anzahl der Thermometer in seinem Anus auf sechs. Das war schon die Obergrenze. Wenn er mehr Thermometer benutzte, würden sie seine Haut nicht mehr berühren und auch keine Temperatur messen. Darüber hinaus gab es neulich in der Thermometerfabrik besonders viel zu tun. Es schien, als ob die Fabrik einen großen Auftrag hatte. Jeden Tag musste man Überstunden machen. Zuo Xiaolong konnte es fast nicht mehr ertragen. Diese Nacht war eine seltene Nacht, in der er sich entspannen konnte.

左小龙坐定。突然间旁边传来熟悉的声音。说道：是我。

Zuo Xiaolong setzte sich und hörte plötzlich eine vertraute Stimme: „Ich bin’s.“

左小龙往右边一看，是泥巴。他诧异地问道：你怎么进来地。你不是没买到票么?

Zuo Xiaolong schaute nach rechts. Es war Niba. Er war verwundert und fragte: „Wie bist du reingekommen? Du hast kein Ticket gekauft, oder?“ –

泥巴说：我想进来就进来咯。

Niba sagte: „Wenn ich rein will, gehe ich einfach rein.“

左小龙说：你怎么能挑位置地。坐在我旁边，票那么紧张。

Zuo Xiaolong fragte: „Wie konntest du deinen Platz wählen und neben mir sitzen? Es ist sehr schwierig, ein Ticket zu bekommen.“

泥巴撅起嘴有点不悦道：我想坐哪就坐哪咯。你就当是凑巧呗。

Niba machte einen Schmollmund und wurde ein bisschen unzufrieden: „Ich kann sitzen, wo ich will. Du kannst es einfach als einen Zufall sehen.“

左小龙扫视了泥巴一圈，问道：你什么人。

Zuo Xiaolong warf einen Blick auf sie und fragte: „Wer bist du?“

泥巴嘿嘿笑了两声，没有言语，说。看节目吧。

Niba lachte und antwortete nicht. Sie sagte: „Lass uns das Programm ansehen.“

突然间，窗外流光溢彩，天空被烟火照亮了，左小龙身在礼堂，不知道外面地热闹，买了看票地人都指着天空议论纷纷。神色兴奋。

Plötzlich tauchten farbige Lichter außerhalb des Fensters auf. Der Himmel wurde durch ein Feuerwerk erleuchtet. Zuo Xiaolong war im Saal und sah die lebhafte Szene draußen nicht. Die Leute mit Schautickets zeigten in den Himmel und redeten darüber. Sie waren gespannt.

后来，据大帅讲。这天的烟花是他这辈子见过最美的烟花，烟花像瀑布一样洒落下来，绵延一公里长。最高地烟花足足插入了天空数百米，然后散开，就像上帝在弹烟头。在整整五分钟地烟火表演后，有不知道多少发地礼炮，礼炮声中，最后停放在河中央船上的礼花引爆，几个大烟花逆风而上，冲破烟雾。在空中爆成了一个字。这到底是个什么字，引发了很多群众地猜想。根据一河之隔地群众讲，他们看见地是一个“和”字，但身在对岸地大帅说。从这个角度只看见了一个“吐”字。

Später sagte Daschuai, dass das Feuerwerk an diesem Tag das schönste war, das er jemals in seinem Leben gesehen hatte. Es fiel wie ein Wasserfall, der sich einen Kilometer ausdehnte. Der höchste Feuerwerkskörper flog hunderte Meter in den Himmel und breitete sich dann aus, als ob Gott eine Zigarettenspitze mit den Fingern schnippte. Nach ganzen fünf Minuten wurden unzählbare Salutschüsse gezündet. Im Geräusch der Salutschüsse wurde dann endlich das Feuerwerk auf einem Boot im Fluss gezündet. Einige großen Feuerwerkskörper stiegen gegen den Wind in die Höhe, brachen durch den Smog und explodierten in einem Zeichen. Viele Leute rieten, was für ein Zeichen es war. Laut der Zuschauer am Fluss war das Zeichen „和“ (Harmonie). Aber Daschuai, der am anderen Ufer stand, sagte, von seiner Perspektive aus sah er nur „吐“ (Erbrechen).

正文第四十五章 Kapitel 45
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烟花结束，硝烟味道弥漫到了会场里，观众们纷纷鼓掌，节目开始了。左小龙没有鼓掌，他有些惆怅。因为在最后地时刻，他都没有放弃。他们三人练习了曲目。而且连后路都已经留下。实在不行，他就和大帅讲相声也得上。这是一个盛会。必须得赶上它，左小龙觉得，如果一开始做了观众，那么以后就一直是观众。如果一开始做了演员，那以后就一直是演员。

Das Feuerwerk war zu Ende, der Geruch von Rauch erfüllte den Saal. Die Zuschauer klatschten nacheinander. Die Soiree fing an. Zuo Xiaolong klatschte nicht, er war ein bisschen wehmütig, weil er auch bis zum letzten Moment nicht aufgegeben hatte. Sein Chor hatte zu dritt ein Lied eingeübt. Außerdem hatte er noch eine Ausweichmöglichkeit. Er und C.v.D. wollten unbedingt an der Soiree teilnehmen. Wenn das Lied nicht gut war, könnten sie ein komödiantisches Wortgefecht aufführen. Die Soiree war ein großes Fest. Sie mussten daran teilnehmen. Zuo Xiaolong dachte, wenn er am Anfang ein Zuschauer wäre, würde er immer ein Zuschauer bleiben; wenn er aber von Anfang an Darsteller wäre, würde er immer ein Darsteller bleiben.

不幸的是，主办方无情地拒绝了他地报名，因为报名早在两周前截止了，他只能做一个观众。主办方告诉他。能做观众。已经是你的幸运。

Unglücklicherweise hatte der Veranstalter seine Anmeldung gnadenlos abgelehnt, weil die Deadline schon vor zwei Wochen war. Er konnte nur ein Zuschauer sein. Der Veranstalter sagte ihm, dass er schon Glück hatte, ein Zuschauer sein zu dürfen.

聚光灯下，主持人上场了。不例外是一男一女。他们上场说道：各位领导。各位嘉宾，各位观众，大家晚上好，(掌声)首届波波杯亭林镇文艺晚会正式开始了。(掌声) 首先。请允许我介绍一下参加本次晚会地领导和嘉宾……

Im Rampenlicht traten die Moderatoren auf, wie gewohnt ein Mann und eine Frau. Sie sagten auf der Bühne: „Sehr geehrte Führung, sehr geehrte Ehrengäste und sehr geehrte Zuschauer, guten Abend. (Applaus) Der erste Bo-Bo-Wettbewerb Pavillonwalds fängt offiziell an. (Applaus) Zuerst darf ich die Leiter und Ehrengäste der Soiree vorstellen...“

“不允许!”外面一个年轻人大声叫道，会场一片哄笑，领导面色难看，这位青年只是想早点看到演出，很快。他被维持秩序的警察带走了。但是这个罪名很难定。因为他地确有不允许地权利，但问题是他此刻没有不允许的权利，但所谓师出有名。最后，警方控诉他违反了亭林镇图书馆“不准大声喧哗”的条例，被驱逐出看票区。

„Nein!“, schrie draußen ein junger Mann laut. Im Saal wurde überall gelacht. Die Führung machte ein hässliches Gesicht. Dieser junge Mann wollte eigentlich nur die Aufführung etwas früher sehen. Er wurde von Polizisten, die die Ordnung aufrechterhielten, weggebracht. Aber seine Straftat war schwer zu bestimmen, weil er tatsächlich das Recht hatte, nein zu sagen. Das Problem war, dass er in diesem Moment kein solches Recht hatte. Aber man sagte, es müsse einen Grund geben, um ihn festzunehmen. Zuletzt verurteilte die Polizei ihn nach der Regel, dass man in der Pavillonwald-Stadtbücherei nicht laut schreien durfte und er wurde des Geländes verwiesen.

晚会继续进行。在介绍完嘉宾以后，节目开始了。

Die Soiree ging weiter. Nach der Vorstellung der Ehrengäste fing das Programm an.

首先上台的是一出黄花戏，这出黄花戏是老剧新排。剧本由村委会进行了重新创作。歌颂了当地村民王秀梅的事迹。它讲述了这么一个故事。在拆迁过程中，拆迁办遇见了钉子户刘大虎，刘大虎是一个光棍。而且父母双亡，祖上给他留下了一套房子，因为刘大虎的父亲死前给他的遗言是。儿啊，爹无能。就留给你一个房。你不要怪爹，好好看着咱地房。所以他不愿意搬迁。他是亭林镇最大一个钉子户，因为他孤身一人。无牵无挂。没有工作，所以拆迁办很难下手。既不能向他父母施压。也不能让单位施加压力，拆迁办用尽了一切办法。

Zuerst gab es eine Chrysanthemen-Oper auf der Bühne. Diese Chrysanthemen-Oper war ein altes Stück mit neuer Inszenierung. Das Drehbuch wurde von der Dorfkommission neu geschrieben. Es lobte die Taten einer lokalen Bürgerin, Wang Xiumei. Es wurde eine solch Geschichte erzählt. Während des Räumens und Abreißens traf das Büro für Räumen und Abreißen einen Blockierer, Liu Dahu. Liu Dahu war ein Single, dessen Eltern beide tot waren. Seine Stammväter hatten ihm ein Haus hinterlassen. Die letzten Worte seines Vaters waren: „Mein Sohn, ich bin unfähig und kann dir nur ein Haus hinterlassen. Nimm es mir nicht übel und behüte unser Haus.“ Deshalb wollte er nicht umziehen. Er war der größte Blockierer Pavillonwalds, weil er ganz allein war und keine Familie hatte. Er hatte keine Arbeit, was es schwierig für das Büro für Räumen und Abreißen machte. Die dortigen Mitarbeiter konnten weder seinen Eltern noch seiner Einheit Druck machen. Sie versuchten schon alles.

断水断电断煤气，但是刘大虎的生存能力很强，他过上了点蜡烛，每天挑水和钻木取火地生活，拆迁办又向全镇子上地居民们加以思想上的宣传。刘大虎威了一个自私的心中没有集体的个人主义者，镇上的菜市场不再卖菜给他。出售粮食地商店也不再给他卖米，但是。这一切都没有妨碍刘大虎生存下去。刘大虎拿起了鱼叉。自制了弓箭，每天过着捕捉野物地生活，而镇上地居民对他地自私自利都很愤怒。商店也不愿意卖衣服给他，刘大虎身上地衣服渐渐腐烂，他就把动物地皮毛做成外套，兜在私处遮羞。眼看群众发动地正义运动不能打倒这个顽固派。最后镇里地办法是彻底孤立他。镇里拖欠本村其他农民地拆迁款。说。只有刘大虎拆了，才算是动迁成功。刘大虎不拆。一半的拆迁赔款得扣着，村里地其他农民对刘大虎进行了劝说辱骂和殴打，但这一切正义地举动都不能动摇刘大虎。在节目的高潮。领导们去看刘大虎，对着猿人一般地刘大虎。镇长一针见血道：你这个个人主义享乐派，你耽误了集体啊。

Sie verboten ihm, Leitungswasser, Strom und Gas zu benutzen. Aber er hatte eine starke Überlebensfähigkeit. Er zündete Kerzen an, holte Wasser aus dem Brunnen und machte Feuer, indem er Holz aneinander rieb. Das Büro verbreitete dann unter den Bürgern der Stadt, dass Liu Dahu eine egoistische Person sei, die nicht an das Kollektiv dachte und an Individualismus glaubte. Dann verkaufte man ihm auf dem Markt keine Nahrungsmittel und die Geschäfte der Stadt keinen Reis mehr. Aber das hinderte Liu Dahu nicht daran, weiter zu leben. Er nahm einen Fischstecher, machte Pfeil und Bogen und führte jeden Tag das Leben eines Jägers. Die Bürger der Stadt ärgerten sich alle über seinen Egoismus. Die Geschäfte verkauften ihm auch keine Kleider mehr. Seine Kleider faulten schrittweise, aber Liu machte einfach Mäntel aus Pelz und verdeckte seine Geschlechtsteile. Die Bewegung für Gerechtigkeit der Bürger konnte den Unverbesserlichen nicht niederschlagen. Die letzte Lösung der Stadt war, ihn gründlich zu isolieren. Die Stadt gab den Bürgern das Geld für das Räumen und Abreißen nicht. Sie sagte, nur wenn Liu Dahu umzog, galt die Räumung als erfolgreich. Solange Liu Dahu nicht zustimmte, konnte eine Hälfte des Geldes nicht gegeben werden. Viele andere Bauern des Dorfs redeten auf Liu Dahu ein, beschimpften und schlugen ihn. Aber auch diese gerechten Taten konnten Liu Dahu nicht erschüttern. Im Höhepunkt der Aufführung besuchten die Leiter Liu Dahu. Zu ihm, der schon wie ein Menschenaffe aussah, sagte der Bürgermeister und traf den Nagel auf den Kopf: „Sie Individualist und Hedonist, Sie behindern das Kollektiv.“

关键地时候，王秀梅出现了，刘大虎从小喜欢王秀梅。王秀梅家里母亲病重。等着另外一半地拆迁款看病。王秀梅见到刘大虎说，大虎。只要你愿意搬。我就嫁给你。

In diesem entscheidenden Moment trat Wang Xiumei auf, die Liu Dahu, schon seit er ein Kind war, liebte. Wang Xiumeis Mutter war schwer krank zu Hause und wartete auf die andere Hälfte des Geldes, um ins Krankenhaus zu gehen. Wang Xiumei trat zu Liu Dahu und sagte: „Dahu, wenn du gewillt bist, umzuziehen, heirate ich dich.“

就这样，刘大虎终于搬迁了。

So zog Liu Dahu endlich um.

王秀梅是一个英雄。是一个为了集体愿意牺牲自己的女中豪杰，他顾全大局的思想应该被我们所有人所学习!

Wang Xiumei war eine Heldin, die gewillt war, sich für das Kollektiv zu opfern. Ihre Idee, den Interessen der Allgemeinheit Rechnung zu tragen, sollte von uns allen gelernt werden.

正文第四十六章
Kapitel 46

演出结束后。第一排领导的掌声如雷，镇长看得泪水不止。他说。谁知道我们在发展的过程中遇到的艰辛和阻力啊。群众们有多少的不理解。我们都熬下来了。这个戏好。这个戏充分体现了我们拆迁办同志工作的认真啊。如果人人都有王秀梅这样高地觉悟，那我们地工作就好做了。

Nach der Chrysanthemen-Oper war der Applaus der Führung in der ersten Reihe so laut wie ein Donnerschlag. Der Bürgermeister konnte nicht aufhören zu weinen. Er sagte: „Wer kennt die Mühsale und Schwierigkeiten, auf die wir während dem Prozess der Entwicklung getroffen sind. Egal wie sehr die Massen es nicht verstanden haben, haben wir es ertragen. Diese Oper ist gut. Diese Oper hat völlig gezeigt, wie hart unsere Kameraden vom Büro des Räumens und Abreißens arbeiten. Wenn jeder die erhabenen Gedanken von Wang Xiumei hätte, wäre unsere Arbeit viel leichter.“

评委们纷纷赞许和点头。

Die Juroren erkannten seine Worte an und nickten.

第二个节目是由妇联选送地歌曲——《我们爱结扎》

Der zweite Programm war das vom Frauenverband gewählte Lied: „Wir Lieben Ligatur“.

欢快地。积极向上地：

Das Lied war fröhlich und positiv:

„我们是一个人口地大国

Wir sind ein Land mit großer Bevölkerung

我们地粮食有很多

Wir haben viel Nahrung

我们是东方的一条巨龙

Wir sind ein riesiger Drache im Osten

我们地负担很沉重

Unser Land ist schwer belastet

白天我们很勤劳

Am Tage sind wir arbeitsam

夜晚我们更勤劳

In der Nacht sind wir noch arbeitsamer

但我们响应国家地号召

Aber wir reagieren auf den Ruf des Staats

国家的号召

Den Ruf des Staats

国家地号召召召召……

Den Ruf des Staaaaaaaats...

为了未来

Für die Zukunft

只生一个

haben wir nur ein Kind

一个小孩

Ein Kind

致富发财

macht uns reich

如果再有

Wenn wir wieder schwanger sind

那就堕胎

treiben wir ab

国家才能

Nur so kann der Staat

焕发光彩

voller Vitalität sein

我们要结扎

Wir lieben Ligatur

我们的脸上乐开了花

Wir lachen wie blühende Blumen

我们要结扎

Wir wollen Ligatur

结扎你，结扎我，结扎她

Das willst du, will ich, will sie

我们要结扎

Wir lieben Ligatur

生多了容易生出人渣

weil wir keinen Abschaum haben wollen

我们要结扎

Wir wollen Ligatur

为了祖国妈妈

für unser Vaterland

歌曲引发了经久不惜的掌声。母亲们对于这首歌特别能够感同身受，但是领导们普遍觉得共鸣不大，因为他们都想要不止一个小孩，

Das Lied führte zu einem langen Applaus. Die Mütter konnten sehr gut mitfühlen. Aber die Führung fühlte allgemein keine Anteilnahme, weil sie alle mehr als ein Kind wollten.

第三个节目是由亭林镇幼儿园选送地大班儿童大连唱——完整版的国际歌

Der dritte Programm war ein vom Kindergarten Pavillonwalds gewähltes Lied, das von einer Vorschulkindergruppe gesungen wurde: die komplette Fassung von „Die Internationale“.

起来。饥寒交迫的奴隶
起来，全世界受苦地人
满腔的热血已经沸腾，要为真理而斗争
旧世界打个落花流水。奴隶们起来，起来
不要说我们一无所有。我们要做天下的主人
这是最后的斗争，团结起来到明天
英特纳雄耐尔就一定要实现
这是最后地斗争，团结起来到明天
英特纳雄耐尔就一定要实现!
从来就没有什么救世主，也不靠神仙皇帝
要创造人类地幸福。全靠我们自己
我们要夺回劳动果实，让思想冲破牢笼
快把那炉火烧得通红。趁热打铁才会成功
这是最后地斗争，团结起来到明天
英特纳雄耐尔就一定要实现
这是最后的斗争，团结起来到明天
英特纳雄耐尔就一定要实现!
压迫的国家空洞地法律，苛捐杂税榨穷苦
富人无务独逍遥，穷人的权利只是空话
受够了护佑下地沉沦，平等需要新的法律
没有无义务的权利。平等也没有无权利的义务
这是最后的斗争，团结起来到明天
英特纳雄耐尔就一定要实现
这是最后的斗争，团结起来到明天
英特纳雄耐尔就一定要实现!
矿井和铁路地帝王，在神坛上奇丑无比
他们除了劳动，还抢夺过什么呢?
在他们地保险箱里，劳动地创造一无所有
从剥削者地手里。他们只是讨回血债
这是最后的斗争，团结起来到明天
英特纳雄耐尔就一定要实现
这是最后地斗争。团结起来到明天
英特纳雄耐尔就一定要实现!
国王用和谐地烟雾来迷惑我们。我们要联合向暴君开战
让战士们在军队里罢工。停止镇压离开暴力机器
如果他们坚持护卫敌人。让我们英勇牺牲
他们将会知道我们地子弹。会射向我们自己地将军
这是最后地斗争。团结起来到明天
英特纳雄耐尔就一定要实现
这是最后的斗争，团结起来到明天
英特纳雄耐尔就一定要实现!
是谁创造了人类世界?是我们劳动群众
一切归劳动者所有。哪能容得寄生虫
最可恨那些喝血的毒蛇猛兽，吃尽了我们地血肉
一旦将它们消灭干净。鲜红的太阳照遍全球
这是最后地斗争，团结起来到明天
英特纳雄耐尔就一定要实现
这是最后的斗争。团结起来到明天
英特纳雄耐尔就一定要实现

Wacht auf, Verdammte dieser Erde,
die stets man noch zum Hungern zwingt!
Das Recht wie Glut im Kraterherde
nun mit Macht zum Durchbruch dringt.
Reinen Tisch macht mit dem Bedränger!
Heer der Sklaven, wache auf!
Ein Nichts zu sein, tragt es nicht länger
Alles zu werden, strömt zuhauf!

Völker, hört die Signale!
Auf zum letzten Gefecht!
Die Internationale
erkämpft das Menschenrecht.

Es rettet uns kein höh'res Wesen,
kein Gott, kein Kaiser noch Tribun
Uns aus dem Elend zu erlösen
können wir nur selber tun!
Leeres Wort: des Armen Rechte,
Leeres Wort: des Reichen Pflicht!
Unmündig nennt man uns und Knechte,
duldet die Schmach nun länger nicht!

Völker, hört die Signale!
Auf zum letzten Gefecht!
Die Internationale
erkämpft das Menschenrecht.

In Stadt und Land, ihr Arbeitsleute,
wir sind die stärkste der Partei'n
Die Müßiggänger schiebt beiseite!
Diese Welt muss unser sein;
Unser Blut sei nicht mehr der Raben,
Nicht der mächt'gen Geier Fraß!
Erst wenn wir sie vertrieben haben
dann scheint die Sonn' ohn' Unterlass!

Völker, hört die Signale!
Auf zum letzten Gefecht!
Die Internationale
erkämpft das Menschenrecht.

唱完。幼儿园地孩子们突然间“哦”一声散开。每个人捧起一束鲜花，向领导评委和嘉宾们送去。这一招得到了大家的巨大欢喜。主席台上地人笑得合不上嘴，书记说道：这国际歌由幼儿园的孩子们唱出来。显得是别有一番韵味。而倒非常融洽啊。

Nach dem Gesang gingen die Kinder plötzlich mit einem Schrei „Oh“ auseinander. Jedes Kind nahm einen Bund Blumen und schenkte ihn der Führung, den Juroren und den Ehrengästen. Das machte die Leute sehr glücklich. Die Personen in der Reihe des Podiums lachten so viel, dass sie ihre Münder nicht schließen konnten. Der Sekretär sagte: „Es ist ungewöhnlich, dass ‚Die Internationale‘ von Kindern aus dem Kindergarten gesungen wird. Aber das war unerwartet harmonisch.“

正文第四十七章 Kapitel 47

路金波连忙附和道：那是，那是。当然融洽了，本来就是无产阶级地歌曲，他们就是无产阶级么。所以他们唱最合适。

Lu Jinbo pflichtete sofort bei: „Ja, ja. Natürlich war es harmonisch. Das Lied ist doch ein Lied des Proletariats. Sie sind doch aus dem Proletariat. Deshalb passt es sehr, dass sie dieses Lied singen.“

书记说：好。听得我很有感触啊。

Der Sekretär sagte: „Gut. Ich fühle mich sehr berührt.“

他拿起节目单。对照着歌词念道：压迫地国家空洞的法律。苛捐杂税榨穷苦，富人无务独逍遥。穷人的权利只是空话，是谁创造了人类世界?是我们劳动群众。一切归劳动者所有，哪能容得寄生虫国王用和谐地烟雾来迷惑我们。我们要联合向暴君开战，让战士们在军队里罢工。停止镇压离开暴力机器，可是我以前怎么没听过这段?

Er nahm das Programm und las den Text vor: „‚Leeres Wort: des Armen Rechte, Leeres Wort: des Reichen Pflicht! Unmündig nennt man uns und Knechte,
duldet die Schmach nun länger nicht! In Stadt und Land, ihr Arbeitsleute, wir sind die stärkste der Partei'n Die Müßiggänger schiebt beiseite! Diese Welt muss unser sein; Unser Blut sei nicht mehr der Raben, Nicht der mächt'gen Geier Fraß! Erst wenn wir sie vertrieben haben dann scheint die Sonn' ohn' Unterlass!‘ Aber warum habe ich diesen Abschnitt vorher noch nie gehört?“

路金波说：哦。这是完整版地。未删节版地。

Lu Jinbo sagte: „Ach, das ist der vollständige Text, ohne Kürzung.“

书记说：嗯，还是删了好，啰嗦。还是原来的简洁。英特纳雄耐尔，就一定要实现么，这句在就行了。

Der Sekretär sagte: „Es ist besser, wenn einige Abschnitte weggelassen werden. Der verkürzte Text ist prägnanter. Solange dieser Satz, ‚Die Internationale erkämpft das Menschenrecht‘, bleibt, ist alles in Ordnung.“

第四个节目是黄莹的独唱，黄莹一身纯白地裙衣。头发扎起，左小龙和路金波听得如痴如醉。但是这个节目没有得到领导的首肯，爱情就是个上不了台面的玩意儿，黄莹按照原来地歌词唱完。向大家深深鞠躬。道：很高兴在这个舞台上唱我属于我自己地歌，可能不是很合适，但是，这是我自己地歌。

Der vierte Programm war der Sologesang von Huang Ying. Sie trug ein reinweißes Kleid und einen Pferdeschwanz. Zuo Xiaolong und Lu Jinbo schwelgten in ihrem Gesang. Dieser Programm wurde jedoch von der Führung nicht anerkannt, weil die Liebe nur eine unwürdige Sache ist. Huang Ying sang den Originaltext und verbeugte sich tief. Sie sagte: „Ich freue mich sehr darüber, dass ich auf dieser Bühne ein Lied, welches mir gehört, gesungen habe. Vielleicht passt es nicht so ganz, aber es ist mein eigenes Lied.“

左小龙和路金波剧烈地鼓掌。

Zuo Xiaolong und Lu Jinbo applaudierten sehr stark.

第五个节目是诗朗诵，由亭林镇走出的先锋派现代诗人，中国诗歌协会副会长亲自上台朗诵，朗诵自己新创作的诗歌——《听话》。

Der fünfte Programm war der Vortrag eines Gedichts. Der aus Pavillonwald stammende moderne Dichter, der zur Avantgarde gehörte und gleichzeitig auch der stellvertretende Vorsitzende des chinesischen Verbands für Lyrik war, ging persönlich auf die Bühne und las das von ihm selbst verfasste originale Gedicht vor: „Gehorsam“.

诗人站上台。挺直了腰，润了几下嗓子。对着话筒，说道：

Der Dichter stand auf der Bühne, richtete sich auf, feuchtete seinen Hals an und sagte ins Mikrofon:

灯光暗下来……

„Das Licht soll gedimmt werden…“

调光师连忙把灯光调暗。

Der Beleuchtungstechniker dimmte sofort das Licht.

话筒响一点……

„Das Mikro soll lauter sein...“

音响师连忙把麦地声音调大。

Der Tontechniker machte das Mikrofon sofort lauter.

台下安静些……

„Die Zuschauer sollen leiser sein...“

台下地观众停止了闲话。都盯着这个副会长。

Die Zuschauer hörten mit ihren Gesprächen auf und starrten auf den stellvertretenden Vorsitzenden.

给我一杯水……

„Gebt mir ein Glas Wasser…“

司仪连忙把水递了上去。

Der Zeremonienmeister gab ihm sofort das Wasser.

给我一张椅……

„Gebt mir einen Stuhl…“

主持人连忙端了一张椅子过去。

Der Moderator gab ihm sofort einen Stuhl.

世界多美好……

„Wie schön ist die Welt...“

因为没人名字叫世界，所以不知道谁该上台去了。

Weil niemand „Welt“ hieß, wusste niemand, wer auf die Bühne gehen sollte.

如果如这般……

„Wenn alles so ist…“

台下依然寂静。

Die Zuschauer blieben weiter still.

诗人站起来道：我地诗朗诵完了。谢谢大家。

Der Dichter stand auf und sagte: „Das war’s. Vielen Dank.“

镇长第一个醒悟过来，说。好新颖啊，这现代诗好，还带有互动。灯光暗下来。话筒响一点。台下安静些。给我一杯水。世界多美好。如果如这般，好好好，这诗歌叫什么名字来着?

Der Bürgermeister war der erste, der das Gedicht verstand. Er sagte: „Wie frisch! Dieses moderne Gedicht ist sehr gut, sogar interaktiv. ‚Das Licht soll gedimmt werden. Das Mikro soll lauter sein. Die Zuschauer sollen leiser sein. Gebt mir ein Glas Wasser. Gebt mir einen Stuhl. Wie schön ist die Welt, wenn alles so ist.‘ Gut gut gut! Wie heißt denn dieses Gedicht?“

旁边人接道：听话。

Ein Mann neben ihm antwortete: „Gehorsam.“

第六个节目是舞蹈，舞蹈的名字叫《跳出和谐地音符》，由电信局选送。

Der sechste Programm war ein Tanz. Sein Name war „Tanz für ein harmonisches Tonzeichen“ und er wurde vom Fernmeldeamt ausgewählt.

在群众们地议论声中。最后一个节目上场了。亭林镇合唱团，他们汇聚了亭林镇最会唱歌地人。由医生。护士，病人。警察，罪犯。加油站工人，干部。职工，老师。学生组成的上百人的亭林镇合唱团。

Unter dem Lärm der diskutierenden Zuschauer trat der Chor von Pavillonwald auf die Bühne. Er sammelte die Leute, die in der Stadt am besten singen konnten, und bestand aus fast hundert Personen: Ärzten, Krankenpflegern, Patienten, Polizisten, Verbrechern, Tankwarten, Funktionären, Arbeitnehmern, Lehrern und Studenten.

这就是左小龙的梦想，实现不了自己地梦想不痛苦。痛苦地是被别人给实现了。还在自己眼前，这其中地每一个人。左小龙都想把他们扛回家，抗到雕塑园里，用指挥棒指挥他们唱歌。左边低音，突然高音部，然后重唱。再中音部……想着都让左小龙迷醉，这个梦想源于左小龙小时候。班级里组织了合唱团。但是没有指挥，音乐老师要挑选一个指挥。让小学生们都伸出了手指。说。来。老师看看谁的手指甲剪地最干净，老师就让谁指挥，左小龙就是因为在前天晚上剪过手指甲，所以被挑选当上了指挥，他很不乐意。但是当他上台以后。指挥棒挥起，那边的人们歌声就响起，指挥棒落下，那里就寂静无声，没几下。左小龙就彻底爱上了指挥。之后，左小龙去过很多地班级，学校。社区合唱团。但都没能当上指挥，因为大家普遍不以谁地指甲干净作为标准。

Das war Zuo Xiaolongs Traum. Es schmerzte nicht, dass er seinen Traum nicht verwirklichen konnte. Aber es schmerzte, dass dieser Traum von anderen verwirklicht wurde, und zwar vor seinen Augen. Jedes Chormitglied wollte Zuo Xiaolong nach Hause und in den Skulpturenpark bringen. Er wollte sie mit einem Dirigentenstab dirigieren. Links Bass, plötzlich singt der Sopran, und dann im Duett, dazu dann die Altstimme... Nur der Gedanke machte Zuo Xiaolong schon euphorisch. Dieser Traum kam aus Zuo Xiaolongs Kindheit. Es gab einen Chor in seiner Klasse, aber der Chor hatte keinen Dirigenten. Die Musiklehrerin wollte einen Dirigenten aussuchen und ließ alle Schüler die Finger zeigen. sie sagte: „Wer die saubersten Fingernägel hat, der darf der Dirigent sein.“ Weil Zuo Xiaolong am Vortag gerade seine Fingernägel geschnitten hatte, wurde er der Dirigent. Er wollte es gar nicht. Aber als er auf der Bühne war, hob er den Dirigentenstab hoch und die Gruppe sang. Er senkte ihn und es wurde ruhig. Nach einer kurzen Zeit war er total in das Dirigieren verliebt. Danach besuchte Zuo Xiaolong viele Kurse, Schulen und den Chor der Gemeinschaft, aber er konnte nicht mehr Dirigent sein, weil saubere Fingernägel üblicherweise nicht zu den Voraussetzungen eines Dirigenten gehörten.

正文第四十八章

Kapitel 48

灯光渐渐弱下。指挥镇定地翻开乐谱。所有地人和乐器都需要等候他一个人就绪。突然间，他手一颤抖，音乐起，左小龙的手也猛的抖动了一下，脖子骤然伸长，但他突然想到，自己地队员甚至都还在大礼堂外面。还没有资格进来，他的脖子一下缩了回去。

Das Licht wurde schrittweise schwächer. Der Dirigent öffnete das Notenheft gefasst. Alle Personen und Instrumente sollten auf ihn warten. Plötzlich zitterte seine Hand und die Musik begann. Zuo Xiaolongs Hand bebte auch heftig und er streckte seinen Hals. Aber als ihm plötzlich einfiel, dass seine Gruppe sogar noch außerhalb des Saals war und die Mitglieder nicht qualifiziert waren, einzutreten, zog er sich sofort zurück.

合唱团配合得完美无缺。他们唱道：

Der Chor arbeitete absolut perfekt zusammen. Sie sangen:

枫林。竹林。不如我们地亭林

„Ahornwald, Bambuswald, sind alle nicht so gut wie unser Pavillonwald

树林。森林，不如我们地亭林

Weidenwald, Kiefernwald, sind alle nicht so gut wie unser Pavillonwald

东海边的明珠

Die glänzende Perle des Ostmeers

太平洋畔的水晶

Der Kristall des Pazifiks

亭林。你的腾飞让世界震惊

Pavillonwald, deine Entwicklung erstaunt die Welt

亭林，你的博大让文艺复兴

Pavillonwald, deine Größe lässt die Kunst wiederauferstehen

这里湖面总是澄清

Hier sind die Seen immer klar

这里空气充满宁静

Hier ist die Luft immer voller Ruhe

雪白明月照在大地

Der schneeweiße Mond scheint auf den Boden

照出一地地GDP

Scheint auf den GDP

亭林，亭林

Pavillonwald, Pavillonwald

你的前途。一片光明片光明片光明光明光明明明明

Deine Zukunft ist erfolgverspreeeecheeeend

三个发展

Drei Entwicklungen

四个必须

Vier Erfordernisse

五个有利于

Fünf Vorteile

时刻牢记在我们的心

Sind immer in unserem Herzen

我们生是亭林镇地老百姓

Wenn wir leben, sind wir die Bürger Pavillonwalds

死是亭林镇地小精灵

Wenn wir sterben, sind wir die Geister Pavillonwalds

歌毕。所有的灯光亮起。全场起立鼓掌。这首歌除了当中有一段比较耳熟以外，情真意切。生动形象。作为亭林镇地镇歌。当之无愧，书记表示。在亭林镇入口处的大牌坊上。立即让人赶制一副对联。上下联是

Nach dem Lied wurden alle Lampen eingeschaltet. Der ganze Saal stand auf und applaudierte. Nur ein Teil des Lieds klang sehr vertraut, aber ansonsten war das Lied aufrichtig und lebendig. Es war sehr angemessen, dass dieses Lied das Stadtlied war. Der Sekretär meinte, er würde sofort ein Reimpaar für das große Denkmal vor dem Eingang der Stadt machen lassen. Das Reimpaar lautete:

生是亭林镇的老百姓

Wenn ich noch lebe, bin ich ein Bürger Pavillonwalds.

死是亭林镇地小精灵

Wenn ich sterbe, bin ich ein Geist Pavillonwalds.

横批是：世界震惊。

Die Überschrift war: Die Welt zu erstaunen

本来。由于前面精彩纷呈地节目，评委们一度担心，亭林镇地镇歌压不住场面，但是。最后的表演让大家耳目一新。气氛由这首镇歌《亭林颂》到达了高潮。

Wegen der guten Aufführungen davor hat sich die Jury Sorgen gemacht, dass das Stadtlied die Zuschauer nicht beeindrucken würde. Aber am Ende brachte die Aufführung den Zuschauern eine frische Interpretation. Die Atmosphäre wurde durch das Stadtlied „Pavillonwaldlied“ zum Höhepunkt gebracht.

因为大家都是凭本地身份证才能入内地。所以感觉气场特别相吸，当地老百姓被久久压抑的激情也得到了释放，突然台下有人喊道：把外地人赶出去!收复亭林镇!

Weil die Leute nur mit lokalen Ausweisen in den Saal gehen durften, fühlten sich die Leute im Saal zueinander hingezogen. Als die unterdrückte Leidenschaft der lokalen Leute endlich befreit wurde, schrie jemand im Publikum plötzlich: „Fremde raus! Holt Pavillonwald zurück!“

喊这一声的正是左小龙。这个口号得到了大部分人地响应。人们纷纷觉得，再此下去，亭林镇会彻底失去本地人，成为一个殖民镇。他们地习俗。文化，包括一切陋习，美德，全都不复存在，这一切都是由这些工厂所引起的。但他们又离不开这些工厂，所以，最好地结合就是他们在这些工厂里。大家再也不必用普通话进行交流。而某人丢失了一辆自行车重新成为这个镇上地重大话题。并且能在半天内被人肉搜索出来，而不是现在，年轻人都去了大城市。难以生存，老年人依靠外地人。维持生存，外地人靠着工厂，艰难生存，工厂靠着污染本地，得以生存，突然间。在亭林镇镇歌地激励下。左小龙想明白了。只要驱赶掉外地人，生物链就更完善地连接上了。大礼堂里顿时成为了本地人思辨大会。

Es war Zuo Xiaolong, der geschrien hatte. Dieser Slogan fand sofort Anklang bei den meisten Leuten. Die Leute glaubten einer nach dem Anderen, dass ihre Stadt nach und nach die Einheimischen verlieren und zu einer Kolonie werden würde. Ihre Bräuche, ihre Kultur sowie alle Unarten und Moral würden verschwinden. Und das alles wegen diesen Fabriken. Aber sie konnten sich nicht von diesen Fabriken trennen. Deswegen wäre die beste Lösung, dass in den Fabriken niemand mehr zwingend Mandarin sprechen müsste. Dann wäre es wieder ein großes Thema, wenn jemand ein Fahrrad verlor. Und das Fahrrad würde innerhalb eines halben Tages durch Suchtrupps gefunden. Es wäre nicht wie jetzt, wo die jungen Leute alle in die Städte gehen und kaum zurechtkommen. Die alten Leute waren von den Auswärtigen abhängig, um zu überleben. Die Auswärtigen waren von den Fabriken abhängig und hatten nur ein schwieriges Leben. Die Fabriken verschmutzten die Stadt, um zu überleben. Plötzlich kam Zuo Xiaolong durch das Stadtlied die Idee, dass wenn sie die Fremden vertrieben, die Nahrungskette wieder besser verknüpft wäre. Im Saal kam es zu einer Reflexionskonferenz für alle Anwesenden.

左小龙突然体会到群众运动的成就感。他站起来说道：支持我地挥手!

Zuo Xiaolong fühlte plötzlich das Erfolgsgefühl einer Massenbewegung. Er stand auf und sagte: „Diejenigen, die mich unterstützen, bitte heben Sie die Hand!“

在此刻，左小龙第一次觉得自己成为了英雄，倘若黄莹此时在他身边，他必然一把搂过，向大家介绍道：我地女人!

In diesem Moment fühlte Zuo Xiaolong sich zum ersten Mal, als ob er ein Held wäre. Wenn Huang Ying jetzt bei ihm wäre, würde er sie bestimmt umarmen und sie allen Leuten vorstellen: „Das ist meine Freundin!“

正文第四十九章

Kapitel 49
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站票里全部都举起了手。加座里有一大半人举了手，硬座里有一半人举了手，而软座处只有一只手，左小龙格外注意软座处地手。他爬高一看，发现这个人是刘必芒。

Alle Stehenden hoben ihre Hände. Auch einige Neuankömmlinge hoben sie. Auf den harten Sitzen hob die Hälfte der Leute ihre Hand, aber auf den weichen Sitzen war es nur einer, der Zuo Xiaolong besonders auffiel. Er kletterte hoch, um nachzuschauen und sah, dass es Liu Bimang war.

当然，也有很多人反对，他们在台下议论，如果赶走了外地人。他们每年每户将损失一万多元的租金，而且内需也无法扩张，工人抬价以后。工厂地生产成本提高，导致招商引资的魅力下降。

Natürlich waren viele Menschen dagegen. Im Publikum wurde diskutiert, dass wenn die Auswärtigen verscheucht würden, jeder von ihnen mehr als zehntausend Yuan Miete verlierte. Außerdem könnte sich die Binnennachfrage auch nicht mehr ausdehnen. Wegen erhöhter Löhne für die Arbeiter würden auch die Produktionskosten steigen, was dazu führen würde, dass die Attraktivität für Investoren sinkt.

左小龙愈发兴奋，他终于找到了比指挥更加富有乐趣和体现自我价值的事情。他丝毫不顾泥巴地拉扯，爬到椅子背上。说道：我们不要招商引资了，我们像以前一样种田!

Zuo Xiaolong wurde aufgeregter, endlich fand er etwas, was interessanter und bedeutender als Dirigieren ist. Er kletterte auf die Rückenlehne, Schlamm, die versuchte ihn zurückzuhalten, ignorierend, und sagte: ,,Wir müssen keine Investoren anlocken, wir können wie damals die Felder bestellen!“

说完。大家顿时一片嘘声。

Nachdem er seine Rede beendet hatte, buhten sofort alle Anwesenden.

外面地警察们望着会场里面。不知所措，上头还没有给予他们命令。但是他们觉得应该有所活动，四下找自己地领导，结果发现他们的领导在里面和人们激烈地辩论。

Die Polizisten von draußen schauten verwirrt und ratlos in den Saal. Sie haben noch keinen Befehl von ihrem Vorgesetzten erhalten, aber gleichzeitig glaubten sie, dass sie etwas machen sollten. Dann begannen sie ihren Vorgesetzten zu suchen und bemerkten, dass er im Saal war und leidenschaftlich mit den Leuten darin diskutierte.

在这个事关意识形态的重大时刻，代表了意识形态的书记上台了。他拿起话筒。说：”同志们啊，请大家安静一下。”

In diesem für die Ideologie wichtigen, entscheidenden Moment stieg der die Ideologie vertretende Sekretär auf die Bühne. Er ergriff das Mikrofon und sagte: „Liebe Genossen, ich bitte Sie um Ruhe.”

今天这个晚会。很好，我很感动，我看到了凝聚力。但是，这个凝聚力。我们不能把他局限在户籍上，我们都是中国人嘛。我也是外地人嘛。我们波波印刷厂地老板。路先生。也是外地人嘛。但是，没有他慷慨地搭台。我们能在这里，享受文艺带给我们地欢乐么。

„Die heutige Veranstaltung ist sehr gut, ich bin sehr berührt. Ich spüre Ihren Zusammenhalt. Aber dieser Zusammenhalt soll sich nicht nur auf die Einheimischen beschränken. Einheimische und Auswärtige, wir sind doch alle Chinesen. Ich bin doch auch ein Auswärtiger, genauso ist Herr Lu, Chef der Bo-Bo-Druckerei, auch einer. Aber ohne die großzügige Unterstützung von Herrn Lu, könnten wir uns heute keinesfalls hier versammeln und die Kunst genießen.

“在发展地过程中。我们必然会有所牺牲。所以。我提出了三个发展。四个必须，五个有利于。分别是，发展经济，发展文化。发展思想。必须坚定不移，必须一心一意。必须勇往直前。必须不被动摇。有利于啊……”

„Während des Prozesses der Entwicklung müssen wir Opfer bringen. Deshalb sage ich ‚drei Entwicklungen, vier Erfordernisse, fünf Vorteile‘. Drei Entwicklungen bedeutet Entwicklung der Wirtschaft, Entwicklung der Kunst und Entwicklung der Gedanken. Vier Erfordernisse bedeutet, wir müssen standhaft bleiben, wir müssen voller Hingabe sein, wir müssen tapfer nach vorne marschieren und wir müssen unerschütterlich bleiben. Und Vorteile.......“

书记一时自己有点犯迷糊。领导们比较崇拜大领导。眼看大领导喜欢提出两个三个四个那样地口号。所以自己在制订小方针地时候。总是不忘几个什么，通过开会和内部报纸反复的渲染。当他调任或者退休的时候，这几个什么就是他地政绩，但苟书记有点贪心。提出的口号过于讲究排场。搞得自己总是记不住，反正就是有利于能得到利益的人呗，书记跳过了五个有利于，接着说：

Inzwischen war der Sekretär selbst ein bisschen verwirrt. Die Vorgesetzten verehren eher ihre Vorgesetzten. Die oberen Vorgesetzten mögen Slogans wie ‚zwei..., drei..., vier...‘, deshalb bevorzugen die unteren Vorgesetzten auch solche Slogans, wenn sie ihre Richtlinien ausgeben. Durch Romantisierung vieler Sitzungen und interner Zeitungen, wäre dieser Slogan, wenn sie auf einen anderen Posten wechseln oder in Rente gehen würden, ihre Leistung. Aber Herr Gou ist ein wenig gierig, er verfasst seine Slogans so prächtig, dass er sich oft selbst nicht an sie erinnern kann. Im Endeffekt bedeuten Vorteile doch, dass die Interessen der Menschen, die ihre Interessen verwirklichen können, gefördert werden sollten. Der Sekretär übersprang den Teil ‚fünf Vorteile’ und sagte weiter:

“但是，我们对于本地人也应该有适当的保护，否则对他们地冲击太大了。所以。镇里正在酝酿。最近我们镇上有一个很大的机遇。那就是因为波波印刷厂地特殊排放。产生了奇效。所以镇里的动物都变大了。我们可以利用这个优势。首先。大力发展旅游业和餐饮业。尤其是餐饮业。可能可以吸引到世界各地地旅客，其次就是旅游业。我们考虑。将雕塑园改为野生动物园，但是，这些方面地经营权益，我们考虑只给本地地居民开放!”

„Dennoch, wir sollten den Einheimischen angemessenen Schutz gewähren, sonst wird es zu einer zu großen Belastung für sie. Deshalb berät sich die Gemeindebehörde noch darüber. In letzter Zeit hat sich eine große Chance für unsere Gemeinde aufgetan, nämlich die besonderen Emissionen der Bo-Bo-Druckerei, die wunderbare Wirkungen zeigt, indem sie die Tiere unserer Gemeinde größer werden lässt. Wir können diese Chance ergreifen. Erstens können wir unseren Tourismus und unsere Gastronomie entwickeln. Insbesondere die Gastronomie, die vielleicht Touristen aus aller Welt anziehen wird. An zweiter Stelle ist dann der Tourismus. Wir planen, den Skulpturenpark in einen Zoo umzufunktionieren. Aber wir haben uns überlegt, dass das Recht auf Betreibung in dieser Hinsicht nur den Einheimischen zustehen sollte!“

台下欢呼声响成一片，各种纸片被抛到了空中。

Unter der Bühne bejubelten alle die Ansprache des Sekretärs. Alle Arten von Papier wurden in die Luft geworfen.

书记示意大家安静。道：“当然，这只是一个研讨的阶段，但是你们放心，在大力发展经济的同时，政府还是优先考虑到当地居民地生活地。你们要相信政府。”

Der Sekretär bat nochmal um Ruhe an und sagte weiter: „Selbstverständlich ist das alles noch in der Diskussionsphase. Aber machen Sie sich bitte keine Sorgen! Während der Wirtschaftsentwicklung berücksichtigt die Regierung bevorzugt immer noch das Leben der Einheimischen. Ihr müsst an die Regierung glauben!“

台下异口同声喊道：相信。

Unter der Bühne stimmten alle ein: „Wir glauben!“

左小龙遇人不断说道：那些东西不能吃地。那些东西不能吃地。但没有人再理会左小龙地话。不能吃以为着没有钱，钱就是我们地信仰，我们不能失去信仰，从一个一呼百应的英雄到一个无人理会的小民。左小龙只红了三分钟就过气了。

Jedes Mal, wenn Zuo Xiaolong jemanden traf, sagte er: „Das ist nicht essbar! Das kann man nicht essen!“ Aber niemand glaubte ihm. Wenn die Tiere nicht gegessen werden könnten, würde das bedeuten, dass man mit ihnen kein Geld mehr machen kann. Das Geld ist der Glaube der Einwohner. Ein Glaube, den sie keinesfalls loswerden können. Es kostete Zuo Xiaolong nur drei Minuten, von einem Held, dessen Ruf Hunderte folgen, zu einem Durchschnittsbürger, den niemand beachtet, zu werden.

正文第五十章

Kapitel 50
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台下有人提问道：那万一我们的动物变回原来的大小了怎么办?

Dann wurde unter der Bühne gefragt: „Wie wäre es, wenn die Tiere wieder zu ihrer normalen Größe zurückschrumpfen würden?“

台下一片哗然，大家交头接耳，觉得这是个很重要的假设，这些动物现在是他们发财的筹码。万一变回了老样子，那他们也变回老样子了。

Als die Frage gestellt wurde, wurde es im Publikum unruhig und alle begannen miteinander zu flüstern. Sie fanden, dass diese Hypothese sehr wichtig war. Diese Tiere waren ihre Goldgrube. Wenn die Tiere in ihren alten Zustand zurückwechselten, so würden sie es selbst auch tun.

书记说："这个我们谁都不能保证。但今天，央视的走进科学栏目组也在现场。他们就是来进行科学调查地，前几天。我和他们交流过。这种变异是不可逆地。而且基因也发生了变化，意味着，这些动物生的小孩，也是那么大地!”

„Das kann niemand versprechen“, sagte der Sekretär, „Aber heute sind auch Experten des CCTV Programms ‚Die Wissenschaft‘ hier, die an Ort und Stelle in unserer Gemeinde forschen. Vor einigen Tagen hatten wir miteinander darüber gesprochen und sind zu dem Schluss gekommen, dass solche Mutationen irreversibel sind. Auch die Gene der Tiere hat sich verändert, was bedeutet, dass ihr Nachwuchs ebenfalls so riesengroß sein wird.“

台下掌声雷动，左小龙只能坐在座位上。遥看着软座上地刘必芒和玻璃窗外地大帅发呆。大帅听书记地演讲正听得入神，他突然想到了自己手边的泥巴，泥巴已经睡着了。

Unter der Bühne klatschte es tosenden Beifall. Zuo Xiaolong konnte nichts anderes tun, als auf seinem eigenen Sitz zu bleiben und auf Liu Bimang und C.v.D. auf den weichen Sitzen zu starren. Dashuai hörte sich gerade mit voller Konzentration die Rede des Sekretärs an. Plötzlich erinnerte sich Zuo Xiaolong an Niba, die neben ihm saß. Sie war schon eingeschlafen.

书记说道："请大家相信政府，信赖政府，信任政府，同时，我们也要波波印刷厂帮忙了，务必请路先生的印刷厂要不断地排放这种特殊的……特别的……特种的……这个……化学物质啊。”

Der Sekretär sagte: „Ich bitte Sie alle um mehr Glauben und Vertrauen für unsere Regierung. Gleichzeitig brauchen wir noch die Hilfe der Bo-Bo-Druckerei. Herr Lu, bitte machen Sie weiter damit, diese besondere... außergewöhnliche... spezielle... diese Chemikalien abzulassen.“

路金波站起来。转身向大家挥手，后面爆发出剧烈地掌声和哨声。大家不断叫好。

Lu Jinbo stand auf und winkte dem Publikum mit der Hand. Von hinten kamen stürmischer Applaus und Pfiffe. Alle applaudierten unaufhörlich.

书记向大家鞠了一个躬，再次引起了掌声，这是一次成功地演讲。书记也明显是有感而发。因为他连排比句都没顾上怎么使用，左小龙作为一小撮地。明真相但又不明真相地群众。茫然在会场里。在这么多话里，他只记得一句，那就是雕塑园将要变成野生动物园，而泥巴则在旁边长睡不醒。

Der Sekretär verbeugte sich vor dem Publikum, was abermals Applaus hervorrief. Die heutige Rede des Sekretärs war erfolgreich, offensichtlich hatte der Sekretär alle seine Worte aus tiefstem Herzen gesprochen, weil er nicht darauf achtete, besondere Satzstrukturen zu benutzen. Als einer derjenigen, welche die Wahrheit wissen aber auch nicht genau kennen, war Zuo Xiaolong ratlos. Unter all diesen vielen Worten merkte er sich nur einen Satz, dass der Skulpturenpark zu einem Zoo umfunktioniert werden würde. Aber an seiner Seite schlief Niba noch tief und ruhig.

这时候，主持人边鼓掌边上台了，男主持说道："非常精彩，这次的晚会非常精彩。我们不光欣赏了精彩地文艺演出。还欣赏到了精彩的演讲。现在。到了最扣人心弦地一个环节。经过专家组地评审。我们要揭晓本次晚会地获奖名单了，首先。请大家欣赏舞蹈——《阿哥阿哥你别走》。”

Währenddessen stieg der Moderator applaudierend auf die Bühne. Er sagte: „Bravo! Bravo! Die heutige Veranstaltung ist ausgezeichnet. Da haben wir nicht nur schöne Aufführungen genossen, sondern auch einem glänzenden Vortrag zugehört. Jetzt kommen wir zu dem spannendsten Moment. Nach der Bewertung durch die Experten werden wir den Preis des heutigen Abends verleihen. Aber zuerst genießen Sie bitte den Tanz ‚Lieber Junge, bitte gehe nicht’“.

舞蹈中，书记问路金波道：你觉得哪个节目不错?

Während des Tanzes fragte der Sekretär Lu Jinbo: „Welche Aufführung des heutigen Abends hat Ihnen gefallen?“

路金波说：我觉得都很好。都很好，虽然我不是本地人。但我也深受感染啊，这个艺术真是没有疆界啊。但是我觉得黄莹不错，很清新，而且在这样地一个比赛中，她唱了自己的歌曲。很有勇气，我觉得应该给她一个奖。

Lu antwortete: „Ich fand alle Aufführungen heute sehr gut, wirklich gut. Obwohl ich kein Einheimischer bin, bin ich tief beeindruckt. Wie man schon gesagt hat, Kunst hat keine Grenzen. Aber ich halte sehr viel von Huang Ying’ Aufführung. Ich fand sie sehr frisch. Außerdem war sie sehr mutig, in einem solchen Wettbewerb ein eigenes Lied zu singen. Deswegen finde ich, dass sie einen Preis bekommen sollte.“

书记连忙招来秘书。耳语几句，秘书弓着腰就从台下快步进了后台。

Der Sekretär rief sofort seine Sekretärin herbei und flüsterte ihr einige Worte zu, dann ging die Sekretärin schnell hinter die Bühne.

舞蹈结束后。主持人上台。宣布道："我们先揭晓第三名。第三名是由妇联选送的《我们爱结扎》，评委组认为。这首歌思想正确，感情真切，描绘了妇女翻身解放以后，社会地位提高，思想觉悟也跟着提高的情景。"

Nach dem Tanz ging der Moderator zurück auf die Bühne und verkündete: „Zuerst verleihen wir den dritten Preis! Und der Preis geht an die Aufführung von ‚Wir lieben Ligatur‘ des Frauenverbands. Die Kommission meint, dass diese Aufführung richtige Gedanken und echte Leidenschaft beinhaltet, außerdem beschreibt sie die Emanzipation der Frauen sowie die Entwicklung ihres gesellschaftlichen Status und gedanklichen Bewusstseins.“

"下面请大家欣赏舞蹈——《采人参》。"

„Als Nächstes genießen Sie bitte den Tanz ‚Ginsengpflücken‘.“

舞蹈结束后。主持人上台，宣布道：我们再揭晓第二名，第二名是由黄花村村委会选送的黄花戏，这出戏体现政府工作人员在工作中地认真负责，想尽一切办法。为群众利益。为集体利益着想，还生动地刻画了一位伟大地女性——王秀梅。

Nach dem Tanz stieg der Moderator auf die Bühne und kündigte an: „Jetzt verleihen wir den zweiten Preis. Der Preis geht an die Chrysanthemen-Oper des Chrysanthemendorfs. Die Chrysanthemen-Oper spiegelt den Fleiß und die Sorgfalt der Regierungsmitglieder, ihre Anstrengungen und Arbeit im Interesse der Bevölkerung wider und zeigt, wie sie immer an die Interessen des Volkes denken. Zudem stellt die Oper eine großartige Frau, nämlich Wang Xiumei, lebhaft dar.“

"下面请大家欣赏舞蹈——《神舟飞神州》。"

„Als Nächstes genießen Sie bitte noch einen Tanz ‚Das göttliche Boot im göttlichen Land‘ (Die Shenzhou Rakete in China).“

舞蹈结束后，主持人上台。宣布道：现在。我们揭晓第一名。第一名是……亭!林!颂!

Nach dem Tanz kehrte der Moderator zurück auf die Bühne und verkündete: „Jetzt verleihen wir den ersten Preis. Und der erste Preis geht an......den...... ‚Pavilllionwald-Chor‘!“

正文第五十一章

Kapitel 51

宣布着。亭林颂地伴奏带向了起来。台下有人拿着歌词本开始跟着吟唱。台上的小礼花也纷纷绽放，礼堂里地人开始准备离开。大家在纷纷讨论究竟是《我们爱结扎》该得二等奖呢还是黄花戏《王秀梅》该得二等奖，突然间。女主持上台，说道：我们还有一个奖要宣布。现在我们宣布的奖项是。波波特别奖。这个奖是由路金波先生临时增加的一个奖项。专门颁发给有着精彩演出。但没有能够入选前三的选手，这个奖发给我们地……黄莹小姐!

In der Zwischenzeit erklang die Musik des ‚Pavilllionwald-Chors‘. Im Publikum stimmten einige Leute den Liedtext mit an. Auf der Bühne brannten die kleinen Feuerwerke aus und die Menschen im Saal waren bereit zu gehen. Im Publikum wurde heftig diskutiert, ob im Endeffekt ‚Wir lieben Ligatur’ oder die Chrysanthemen-Oper den zweiten Preis hätte bekommen sollen. Überraschend stieg die Moderatorin auf die Bühne und sagte: „Wir haben noch einen Preis zu verleihen, nämlich den Bo-Bo-Sonderpreis. Dieser Preis wurde von Herrn Lu zusätzlich zur Verfügung gestellt, um einen Teilnehmer auszuzeichnen, der nicht unter den besten drei war, aber trotzdem eine gute Leistung abgeliefert hat. Und der Sonderpreis geht an.......... Huang Ying!“

迎宾的音乐再次响起。观众们等了半天没见黄莹出场。场面稍显尴尬。路金波也是四下扫视。过来一个工作人员。对着路金波和书记地耳边说道：黄莹一唱完歌就走了。

Erneut erklang die Musik zum Willkommenheißen der Gäste. Das Publikum schaute auf die Bühne und wartete auf Huang Ying, aber sie tauchte lange nicht auf, was die Atmosphäre ein wenig peinlich machte. Lu Jinbo blickte umher, dann kam ein Arbeiter und sagte zu ihm und dem Sekretär: „Huang Ying ist schon gegangen, nachdem sie ihr Lied fertig gesungen hatte.“

书记说。你妈在不在现场?

Der Sekretär fragte: „Ist ihre Mutter da?“

工作人员道：在。

„Ja“, antwortet der Arbeiter.

书记说：让你妈上去。让主持人说这是黄莹地妈。她是来代领的。黄莹身体不舒服先回去了。

„Lassen Sie ihre Mutter auf die Bühne steigen und den Preis als Ersatz entgegennehmen. Und sagen Sie, dass Huang Ying sich nicht wohlfühlte und schon gegangen ist.“

工作人员忙点头称是，一溜小跑照办。

Der Arbeiter nickte den Kopf und ging sofort los, den Befehl des Sekretärs auszuführen.

书记对路金波说：不好意思啊。不好意思啊。小妞不懂事。下次介绍给你认识一下，看看有没有什么合作的机会。

Der Sekretär sagte zu Lu Jinbo: „Entschuldigen Sie bitte, entschuldigen Sie vielmals. Huang Ying ist zu einfältig. Nächstes Mal werde ich sie Ihnen vorstellen und wir können schauen, ob es eine Möglichkeit gibt, dass Sie beide mal zusammenarbeiten.“

路金波起身道：下次，下次。不要紧地。不要紧的，我们这个是肯定要做下去地。

Lu Jinbo stand auf und sagte: „Das macht nichts, wirklich nichts. Beim nächsten Mal dann! Unsere Zusammenarbeit wird bestimmt noch weitergehen!“

在晚会的最后。男女主持人上台，他们说道：在本次晚会地最后，我们高兴地宣布。第一届波波杯文艺晚会圆满成功，为了感谢所有前来观看地领导嘉宾和观众们，组委会特地为大家准备了一个小礼物。同时。我自豪地告诉大家，这个礼物也是我们亭林镇生产地，非常地实用。那就是……温度计一支!

Am Ende der Feierlichkeiten gingen der Moderator und die Moderatorin beide auf die Bühne und sagten: „Meine Damen und Herren, am Ende unserer heutigen Veranstaltung sind wir beide sehr froh zu sagen, dass wir alle heute einen wunderschönen und erfolgreichen Abend zusammen verbracht haben. Das Organisationskomitee bedankt sich herzlich für Ihre Anwesenheit und hat Ihnen allen ein Geschenk gemacht. Ebenso bin ich sehr stolz sagen zu dürfen, dass das heutige Geschenk in unserer Gemeinde produziert wurde und sehr praktisch ist. Und das Geschenk ist... ein Thermometer!“

大家纷纷叫好，除了领导们和演员们的温度计是礼仪小姐现场分发的以外，其他人都在退场的时候索取，刚才那些演员和领导们看到温度计，非常好奇。纷纷塞进嘴里，互视而笑，退场的人也排起了长队。

Alle waren sehr froh über das Geschenk und applaudierten. Außer den Vorgesetzten und Darstellern, die ihre Geschenke von einem Dienstmädchen gebracht bekamen, mussten alle anderen ihre Thermometer beim Rausgehen selbst holen. Als die Vorgesetzten und Darsteller die Thermometer nahmen, waren sie sehr neugierig. Sie steckten die Thermometer in ihre Münder und schauten einander mit freudigem Lächeln an. Auch die Zuschauer fingen an, sich in einer langen Schlange anzustellen.

左小龙推醒了泥巴。泥巴迷迷糊糊间张开眼睛，问道：结束啦?

Zuo Xiaolong stupste Niba, um sie zu wecken. Daraufhin machte Niba schlaftrunken ihre Augen auf und fragte: „Ist die Feier schon zu Ende?“

左小龙点头。

Zuo Xiaolong nickte.

泥巴说：我脚麻了……。

Niba sagte: „Mein Fuß ist eingeschlafen......“

左小龙说：那你坐着，我先走了。

„Dann bleib noch, ich gehe schon mal los“, antwortete Zuo Xiaolong.

泥巴一只脚站起来说：别别。我跳着走就是了，你今天好厉害啊，咦。怎么走都要排队啊?

Niba stand sofort nur auf einen Fuß und sagte: „Ne...Ich gehe mit dir. Ich kann doch mit einem Fuß springen. Du bist heute aber echt super! Ach, wieso muss man Schlange stehen?“

左小龙道：领纪念品。算了，咱们不要领了，从边上走吧。

„Um das Geschenk zu holen“, antwortete Zuo Xiaolong, „Komm, lass es. Wir brauchen es nicht. Gehen wir am Rand vorbei.“

泥巴赞许道：恩，我就喜欢不贪小便宜地男人。

„Ja, genau“, stimmte Niba zu, „ich mag Männer, die jedes kleinste Ding begehren, sowieso nicht.“

左小龙不知道该如何说才好。走进夏日午夜地微风里，他搂紧了泥巴。河水泛着昏暗地路灯，退场人群的倒影在里面荡漾。左小龙走了几步，发现有人在对他指指点点。路边人的窃窃私语都仿佛是在评说他当时地举动。虽然这次失败了，但那是因为左小龙不能给别人任何地利益，但他想，左小龙这个名字势必会被镇上地居民所传诵一阵子，在这湿热的空气里，他自己都没有想明白自己要干什么。但这样也好，反正想明白地事也都做不到。

Zuo Xiaolong war sprachlos und hielt den Mund. Sie gingen hinaus in den schwachen Sommerwind und Zuo Xiaolong zog Schlamm eng an sich. Im Fluss spiegelte sich das dunkle Licht der Straßenlampe, in der Dämmerung flackerten die Schatten der den Saal Verlassenden. Zuo Xiaolong machte ein paar Schritte und bemerkte, dass Leute auf ihn zeigten. Es schien, als ob alle auf der Straße über ihn und sein Verhalten auf der Party tuschelten. Heute war er erfolglos, weil er den Leuten keinen Profit anbieten konnte. Trotzdem glaubte er, dass sein Name für eine Weile von seinen Mitmenschen verbreitet werden würde. Bei diesem schwülen Wetter wusste Zuo Xiaolong selbst auch nicht, was er eigentlich machen will. Aber so war es auch gut. Im Endeffekt kann er die Sachen, die er verstanden hat, im Moment sowieso noch nicht verstehen.

走着走着，他看见了书记地车停在街边。他照例将轿车的反光镜外折，还忿忿不平道：妈的。要不是破坏他人财物，我她妈真想把他地车划了，

Während des Spaziergangs sah Zuo Xiaolong an der Seite der Straße das Auto des Sekretärs. Wie immer zog er den Außenspiegel krumm und sagte voller Empörung: „Verdammt! Wenn es nicht regelwidrig wäre, würde ich sein Scheißauto zerkratzen!“

泥巴严厉阻止道：不要。

„Nein! Das darfst du nicht tun!“ Niba schimpfte ihn bitterlich aus.

正文第五十二章

Kapitel 52
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左小龙吓了一跳。这是泥巴唯一一次出现这样地语气。左小龙忙说：我当然不会。我开玩笑而已。这种下三滥的事我干不出来。

Nibas Worte überraschten Zuo Xiaolong. Das war das erste Mal, dass sie in einem solchen Ton sprach. Deshalb sagte er sofort: „Ich werde es natürlich nicht tun. Das war nur ein Witz. So einen Mist würde ich nie bauen.“

泥巴意识到自己失态，笑说：你不会地。

Gleichzeitig wurde sich Niba ihrem unpassenden Benehmen bewusst und lächelte: „Ja, natürlich!“

左小龙和泥巴顺着河边走。人群散去得差不多了。路灯也越来越暗，黯到人地脸如同映衬在烛光里。泥巴抱紧左小龙，说：我要回去了，你送我。

Zuo Xiaolong und Niba spazierten noch weiter den Fluss entlang. Als sich die Menge auf der Straße auflöste, wurden auch die Straßenlaternen dunkler und die Gesichter der Menschen sahen wie von Kerzenlicht beleuchtet aus. Niba umarmte Zuo Xiaolong eng und sagte: „Ich muss los, bring mich nach Hause.“

左小龙开着他地摩托车用超过一百地速度穿越过亭林镇地老街道。两边的卷帘门被划破的气流卷地哗啦作响。左小龙没有戴头盔。头发被风吹动。拍打在泥巴紧贴的脸上。泥巴一手抱着左小龙。一手拎着他送给左小龙地头盔。在天亮时尚算繁华地街道此刻空无一人，本来宽阔的街道在高速下变得异常冷冽狭窄，仿佛只能允许一台摩托车的通过。

Zuo Xiaolong fuhr mit Tempo Hundert mit seinem Motorrad durch die alte Straße der Gemeinde. Wegen des Luftstroms klapperten die Rollladen auf beiden Seiten sehr stark. Er trug keinen Helm, seine Haare wehten im Wind und strichen über Nibas Gesicht. Niba legte einen Arm um Zuo Xiaolong und nahm den Helm, den sie ihm geschenkt hatte, mit der anderen. Auf der tagsüber so belebten Straße gab es jetzt keinen Menschen und das hohe Tempo des Motorrads ließ die breite Straße äußerst schmal und einsam wirken, als ob nur ein Motorrad durchfahren könnte.

泥巴紧紧抓抱住左小龙的腰。低头不看前路。路面的不平都被高速行进地摩托车烫平。新发动机地声音响彻整个镇子，影子接力般衬托交递着两人地黑色影像。投在昏黄地地面上。左小龙不经意间开过上次爆缸的地方。发现那家店还开着，但是店主再没有播放音乐，而是在角落里进行一些制作。左小龙上前道：喂。

Niba umfasste Zuo Xiaolongs Taille enger, senkte ihren Kopf und schaute nicht mehr auf die Straße vor ihnen. Das rasende Tempo des Motorrads machte den holprigen Weg flach und der Lärm des neuen Motors hallte laut durch die ganze Gemeinde. Auf dem dämmrigen Erdboden wechselten sich die Schatten der beiden wie im Staffellauf. Zuo Xiaolong fuhr zufällig an dem Ort vorbei, wo vorher der Motor explodiert ist, und sah, dass der Gemischtwarenladen noch geöffnet hatte. Nur jetzt machte der Ladenbesitzer keine Musik, sondern arbeitete in einer Ecke. Zuo Xiaolong ging näher und sagte: „Hey!“

蹲在地上的店主猛然一回头。发现是左小龙。下意识往旁访看了看。道：你地摩托车修好了啊?

Der auf dem Boden kauernde Ladenbesitzer drehte abrupt seinen Kopf um und sah, dass es Zuo Xiaolong war. Anschließend schaute er unbewusst zu Zuo Xiaolongs Seite und sagte: „Funktioniert dein Motorrad wieder?“

泥巴拉了拉左小龙地手，说，算了。

Niba zog an Zuo Xiaolongs Hand und sagte: „Lass es sein.“

左小龙对泥巴说：泥巴。只是打个招呼。

Zuo Xiaolong antwortete ihr: „Niba, ich möchte doch nur Hallo sagen.“

左小龙转头对店主说：怎么不放音乐了?

Dann wendete Zuo Xiaolong sich wieder dem Ladenbesitzer zu und sagte: „Wieso machst du heute keine Musik mehr?“

店主道：哈哈，咱以前地恩怨一笔勾销啊，不过，现在我顾不上放音乐了。我这杂货店都不打算开了。

Der Ladenbesitzer sagte: „Haha, Lassen wir das Vergangene ruhen. Ich habe jetzt keine Zeit mehr für Musik. Ich will doch noch den Laden schließen.“

左小龙不屑道：那你干什么去?

„Was willst du dann?“, fragte Zuo Xiaolong verächtlich.

店主掂了掂手里的工具，道：电鱼去。

Der Ladenbesitzer wog das Werkzeug in seiner Hand ab und sagte: „Fischen!“

空中飞过一只大鸟。

Am Himmel flog ein großer Vogel vorbei.

左小龙回身跨上摩托车。继续开往夜色里。泥巴把耳朵贴在他地背上，道：我听到你的心跳了。

Zuo Xiaolong setzte sich zurück auf das Motorrad und fuhr weiter in die Nacht hinein. Niba drückte ihr Ohr an Zuo Xiaolongs Rücken und sagte: „Ich kann deinen Herzschlag hören.“

在疯狂地世界里，有个女孩可以安静地随你而去。是多么幸地幸事。只是左小龙不曾明白.

In dieser verrückten Welt gibt es ein Mädchen, das dir ruhig folgen kann. Was sei das doch für ein Glück, aber Zuo Xiaolong hatte das nie verstanden.

亭林镇的文艺晚会非常成功，领导们都非常高兴。同时。喜讯频传，亭林镇地旅游业真的发展起来了，亭林镇出现了很多大字辈的餐厅。其中以大青蛙餐厅最为有名，每天来往雕塑园的人也明显增多。因为当地人都想要在这片大野地里抓点野货，但不是所有地动物都喝到过龙泉河里的水。所以动物地大小参差不齐，不过最惨的就是那些公的。因为当他们和母地走在一起谈恋爱的时候，人们总是以为那些公地是变异了地，总是率先将他们捕获。这符合规律，世界大乱的时候也肯定是男地先倒霉。

Die Kunstveranstaltung Pavillonwalds war ein großer Erfolg, alle Vorgesetzten waren sehr glücklich. Gleichzeitig kam noch eine gute Nachricht, nämlich dass der Tourismus in Pavillonwald sich auch erfolgreich entwickelte. In Pavillonwald wurden viele Groß-Restaurants eröffnet, unter denen das Riesenfrosch-Restaurant am bekanntesten war. Außerdem kamen auch mehr Leute in den Skulpturenpark als zuvor, weil alle Einheimischen hier einige Wildtiere fangen wollen. Aber noch nicht alle Tiere haben aus dem Wasser des Flusses getrunken, dementsprechend hatten alle verschiedene Größen. Unter den Tieren ging es den Männchen am schlechtesten. Wenn sie mit Weibchen zusammen gingen, wurden sie stets zuerst gefangen, weil die Leute immer glaubten, dass die männlichen Tiere schon mutiert sind. Jedoch entspricht das einer allgemeingültigen Regel: wenn die Welt außer Kontrolle gerät, sind die Männer immer als erstes betroffen.

被人们抓起来圈养的大动物越来越多，家家的后院里养着几只。等待下锅，但最让人羡慕的莫过于村里老黄家地牛。所有的小孩见到它，都要问父母。爸爸，为什么大象不长鼻子呢?

Immer mehr mutierte, riesengroße Tiere wurden gefangen und in den Hinterhöfen der Bürger aufgezogen, wo sie auf ihr Ende im Kochtopf warteten. Das beneidenswerteste aber war das Rind von Herrn Huang. Immer wenn Kinder es sahen, fragten sie ihre Eltern: „Warum hat dieser Elefant keinen Rüssel?“

父母的解释是，牛。

Und immer erklärten die Eltern: „Weil das kein Elefant, sondern ein Rind ist.“

正文第五十三章

Kapitel 53
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不过。受益最多的莫过于龙泉河里的鱼，在陆地上的动物不一定都变大，而鱼无一例外都大了。从发现变异地那天起。龙泉河的水闸就放下了。亭林镇段地龙泉河以及其他......支流成为了人民地天堂。只有在五十年代海报里才能出现地丰收在亭林镇上演了，亭林镇再也没有出现过一斤以下的鱼。亭林镇居民对究竟这些东西能不能吃还是持有争论的态度。一半人觉得。当然能吃，你看，还活着，一半人觉得，不能吃，不放心。但大家有一个意见是统一的。就是不管能吃不能吃，还是可以卖给外人吃。

Aber die, die am meisten profitierten, waren die Fische im Longquan-Fluss. Die Tiere auf dem Land wurden nicht unbedingt größer, doch die Fische wuchsen alle ohne Ausnahme. Als man diese Veränderung entdeckte, wurden die Schleusentore des Longquan-Flusses sofort aufgemacht. Dann wurden der Fluss und andere ... Nebenflüsse zu einem Paradies für die Bürger. Ein Überfluss, den man sonst nur auf Plakaten der 50er Jahre gesehen hat, wurde in Pavillonwald Wirklichkeit. Danach gab es in Pavillonwald keinen Fisch mehr, der unter einem Pfund wog. Ob diese Dinge essbar waren oder nicht, dazu hatten die Einwohner Pavillonwalds unterschiedliche Meinungen. Die Hälfte der Leute hielten sie für essbar, weil lebende Dinge sicher essbar sind, und die anderen waren dagegen und sorgten sich um die Gesundheit. Trotz all dieser Debatten hatten alle Einwohner einen Punkt, in dem sie sich einig waren: egal, ob diese Dinge essbar sind oder nicht, man kann sie immer noch Auswärtigen verkaufen.

亭林镇开始热闹了起来。和以前都是外地务工人员不同。现在都是大城市里开轿车来猎奇吃鲜地人们，最先是在周围城市里地广东人组团前来。他们要求。不光吃地东西要怪。而且要吃的怪，他们表示。一些喜闻乐见的传统吃法可以保留下来，比如水煮活猫。生挖猴脑等。无奈亭林镇里没有猴，所以我们更加愿意看看，像老虎一样大的猫如果水煮是什么视觉效果。但这个要求有点难，因为猫没有直接饮用到龙泉河地水，所以这里地猫都还正常。但问题是，不知道为什么这里的老鼠都变大了，他们因为进不了老鼠洞回不了家。脾气都很暴躁，到处抓猫撒气，所以亭林镇上不剩什么猫了。商家提出。不知道吃老鼠怎么样，各位可以尝个鲜。

In Pavillonwald wurde es viel belebter. Im Unterschied zu den Gastarbeitern, die früher kamen, fuhren jetzt Leute aus Großstädten mit dem Auto nach Pavillonwald, um Neuartiges zu jagen und zu essen. Zu Beginn kamen die Guangdonger aus der Umgebung, die forderten, dass ihr Essen nicht nur eigenartig ist, sondern auch auf eigenartige Weise zubereitet wurde. Sie sagten, dass einige beliebte traditionelle Zubereitungsweisen beibehalten werden könnten, wie zum Beispiel eine lebende Katze in Wasser zu kochen, oder das Gehirn eines Affen ungekocht zu essen. Leider gab es in Pavillonwald keine Affen, deshalb wollten sie noch mehr sehen, beispielsweise wie eine Katze, welche die Größe eines Tigers hat, bei lebendigem Leib gekocht wird. Allerdings war diese Bitte etwas schwer zu erfüllen, da die Katzen Pavillonwalds nicht aus dem Fluss getrunken haben und deswegen noch ihre normale Größe hatten. Aber das eigentliche Problem ist, dass aus irgendeinem Grund alle Mäuse aus dem Fluss getrunken hatten und jetzt sehr groß waren. Wegen ihrer Größe könnten sie nicht in ihre Löcher zurück. Das hatte zur Folge, dass sie sie sehr reizbar wurden und anfingen, sich an den Katzen abzureagieren. Deshalb gab es jetzt in Pavillonwald fast keine Katzen mehr. Der Restaurantbesitzer empfahl seinen Gästen Mäuse, da er nicht wusste, wie sie schmecken und seine Kunden so etwas Neues probieren könnten.

广东食客们认为。商家太土帽。老鼠他们早就吃过了。算不得新鲜事物咯，除了人以外。咱们都吃过。

Für diese Guangdonger war der Restaurantbesitzer viel zu altmodisch, Mäuse hatten sie schon längst gegessen, das zählt doch nicht als etwas Neues. Außer Menschenfleisch haben sie ja schon alles gegessen.

这时。旁边有人提醒：人咱们也吃过了，你忘记了。上次咱们在那哪吃过死婴……

Daraufhin erinnerte einer die Anderen: „Menschenfleisch haben wir doch auch schon verspeist, du hast es nur vergessen. Wir haben doch mal irgendwo ein totes Baby gegessen.....“

既然是吃老鼠，那就要吃出新意来，食客们想出了油老鼠这道菜，因为传说中老鼠爱偷油，所以先把大老鼠放在油缸里。把盖子盖住。让老鼠呛死，然后开盖，生吃，别有一番风味。

Wenn man schon Mäuse essen soll, dann sollte man sie wenigstens auf eine neue Art essen. Daher dachten sie sich ein neues Gericht aus: ‚Geölte Mäuse‘. Weil der Sage nach, Mäuse gerne Speiseöl stehlen, sollte das Gericht so zubereitet werden: Zuerst setzt man die Mäuse in ein Ölgefäß und macht den Deckel zu. Nachdem die Maus ertrunken ist, macht man den Deckel wieder auf und verspeist die Maus ungekocht. So ist es neu und aufregend.

但更多人是来这里吃龙虾和青蛙的。这里的大龙虾和大青蛙地价格只相当于澳洲龙虾和牛蛙地一半。但味道却是他们地四分之三。所以这是值得的。最关键是。这是咱中国自己地大虾。吃地不光是美味。还有民族自豪感。

Aber die meisten kamen nach Pavillonwald, um Langusten und Frösche zu essen. Der Preis von großen Garnelen und Fröschen hier war nur halb so hoch wie der von Hummern und Ochsenfröschen in Australien, aber ihr Geschmack entsprach drei Vierteln der selbigen. Deshalb war Essen in Pavillonwald lohnenswert. Und am entscheidendsten war, dass diese Langusten und Frösche alle aus China kamen. Was man hier isst, war nicht nur eine Delikatesse, sondern auch der Stolz unserer Nationalität.

这是最让镇上领导们高兴的事情。因为可以预见。亭林镇地发展将要远远超过本区的其他镇，甚至可能在全国排上名次，第一次旅游业和化工业完美地结合了。但是。文化也是必须要抓的。因为工业无论怎么发展，都有一个极限，最后还是要靠文化来突破地，这是低档次转变成高档次的关键。书记在亭林镇垂钓休闲会馆召开了盛大地庆功宴，参加本次庆功宴的有所有的村镇干部。亭林镇大大小小所有地领导都到齐了。

Und darüber freuten sich die Vorgesetzten Pavillonwalds am meisten. Weil abzusehen war, dass Pavillonwald die anderen Gemeinden in ihrer Entwicklung überholen wird und vielleicht sogar an der Spitze des ganzen Staats liegen könnte. Das ist das erste Mal, dass Tourismus und Chemieindustrie perfekt zusammenarbeiten. Aber man muss auch Kultur berücksichtigen. Egal wie gut sich die Industrie entwickelt, es gibt immer eine Grenze und am Ende muss sich die Industrie auf die Kultur stützen, um diese Grenze zu brechen. Das ist der Schlüssel, um von einem niedrigen Niveau auf ein hohes zu steigen. Der Sekretär veranstaltete eine glänzende Feier im Gästehaus Pavillonwalds, alle Kader aus Dörfern und Gemeinden besuchten die Feier, außerdem waren alle Vorgesetzten Pavillonwalds auch dabei.

夜色渐浓，小风拂月，这是一个庆功地好日子，亭林镇垂钓休闲会馆坐落在湖边，这本不是一个湖，是一个鱼塘。但上任地镇领导认为。亭林镇缺少一个湖，所以，鱼塘就扩建成了一个……更大地鱼塘。扩建后地鱼塘四周绿化覆盖。并承包给他人创建了这个会馆。这是亭林镇接待来宾最高级的场所，会馆就建造在鱼塘。不，湖的中央。点缀满灯光的长桥通向餐厅。

In dieser stillen Nacht schien der Mond hell und klar, der Sommerwind wehte seicht. Heute war ein äußerst geeigneter Tag für eine Feier. Das Gästehaus lag am See, der ursprünglich aber kein See, sondern ein Teich war. Der vorherige Vorgesetzte fand, dass Pavillonwald ein See fehlt, deshalb wurde der Teich umgebaut in einen … noch größeren Teich. Nach dem Umbau wurden um den Teich herum Bäume und Blumen gepflanzt, und es wurden Leute engagiert, das Gästehaus zu bauen. Dies ist der beste Ort, zu dem man Gäste in Pavillonwald einladen kann, und er wurde genau im Zentrum des Teichs, nein, Sees gebaut. Über eine reichlich mit Beleuchtung dekorierte Brücke kommt man dann zu einem Restaurant.

正文第五十四章

Kapitel 54
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湖面餐厅里***辉煌。人声鼎沸，水面下时不时会有大鱼跃起。引得餐厅里吃饭的人不住l惊呼，气氛到达高潮。但主要领导所在的那一桌依然在为工作而争论，真论的焦点集中在是不是要将这些变异的动物收归政府所有。由政府统一调控。镇长的意思是，应该这么做。因为这些属于国家资源。由政府统一管理。统一调控，统一发展比较好。

Im Restaurant am See war es prächtig, überall hörte man die Stimmen der Anwesenden. Darunter sprangen manchmal große Fische aus dem Wasser, was die Leute im Restaurant überraschte und die Atmosphäre zu ihrem Höhepunkt brachte. Trotzdem blieben alle Vorgesetzten unbeeindruckt und diskutierten weiter über die Arbeit. Der Schwerpunkt der Diskussion lag darin, ob die mutierten Tiere der Regierung gehörten und von ihr verwaltet werden sollten. Der Bürgermeister stimmte dem zu. Die Tiere sind die Ressourcen des Staats. Es ist besser, wenn sie von der Regierung einheitlich beaufsichtigt, verwaltet und entwickelt werden.

Han_Han_Ta_de_guo_8]]张迅 Zhang Cun Gisela
大帅问：你什么时候出发?

C.v.D. fragte: „Wann fährst du los?“

左小龙说：随时。
Drako antwortete: „Jederzeit.“

正文第六十六章
闪爵读书ww.shanjue.com:2009-2-25 17:22:03 本章字数:1090
Kapitel 66
左小龙收拾好行李，已经是半夜，他其实未曾想真正离开这个地方，只是他觉得自己的确应该去看看外面地世界。外面的世界去一次大约需要五千公里，左小龙盘算着。他平均每小时80公里。每天开十个小时。那一天就是八百公里，七八五十六，最理想地状态就是一个星期以后他就回来了，他在想，亭林镇将为此事而轰动，最艰难的状态就是每小时十公里，每天开一个小时。那也只需要一年多。又可以回到这里。左小龙经过了数学的计算，对这个世界有点鄙视，虽然只是在一个国家，但世界其实不大。只要不停前行。
Drako wollte die drei Nationalstraßen, die sich von Pavillonwald aus in drei Richtungen ausbreiteten, befahren. Da er gerne Motorrad fährt, war das die beste Methode für ihn. Aber sein Ziel war nicht das Ende der Nationalstraßen, sondern zurück nach Pavillonwald zu fahren. Ursprünglich wollte er Richtung Nationalstraße Nr. 320 fahren, aber plötzlich fand er, dass die Zahl 318 besser als 320 klang. Deswegen beschloss er, zuerst in Richtung Nr. 318 zu fahren, damit er später in jede Richtung fahren kann. Das Ende der Straße Nr. 318 war die Freundschafts-Brücke in Tibet, dazwischen gab es über 5000 Kilometer, was Drakos großartige Bestrebung befriedigen konnte. Wenn sie nur 1000 Kilometer lang wäre, hätte er in diesem Moment geglaubt, dass er am gleichen Tag zurückkehren würde. Er informierte sich über Nationalstraße Nr. 318. Er fand heraus:

318国道几乎就是沿着北纬30度线前行的。那些伟大的景观不是在道路的两旁，就是在道路的南北不出200‘公里的范围内：长江口、钱塘江、西湖、太湖、黄山、庐山、鄱阳湖、洞庭湖、天柱山、神农架、三峡、张家界、武陵源、黄龙洞、峨眉山……。这些是我们比较熟悉地景观。再向西。一些不为人们了解、在传统文化中也找不到地风景开始进入我们的视野，尤其过去人们无缘欣赏地雪山冰川开始频频出现：贡嘎山、海螺沟千米大冰瀑、折多山、雅拉雪山、稻城三大雪峰…一仙乃日、央万勇与夏诺多吉、雀儿山……在这条线上。海拔7000多米地南迦巴瓦、加拉白垒出现了。再向西世界8000米以上地1嬗山峰中的嬗…一马卡鲁峰、卓奥友峰、珠穆朗玛峰、希夏邦马峰出现了。其中珠峰为地球上的最高点。还有无数地无名雪山和冰川在这条大道地两旁……

Die Nationalstraße Nr. 318 verläuft fast genau entlang des 30. nördlichen Breitengrads. Folgende große Sehenswürdigkeiten gab es entlang der Straße auf beiden Seiten, oder im Umkreis von unter 200 Kilometern: der Jangtse, der Qiantang-Fluss, der Westsee, der Tai-See, der Huangshan, Lushan, der Poyang-See, der Dongting-See, der Tianzhu Berg, Shenongjia, die Drei Schluchten, Zhangjiajie, Wulingyuan, die Huanglong-Höhle der Emeishan...... Das sind alles bekannte Sehenswürdigkeiten. Weiter Richtung Westen gab es noch mehr Sehenswürdigkeiten, die die Leute nicht kennen und die sich in der traditionellen Kultur nicht finden lassen. Es gibt besonders viele verschneite Berge und vereiste Flüsse, die vorher niemand gesehen hat: der Gongga-Berg, der kilometerlange Eisfall, der Zheduo Berg, der Yala-Schneeberg, die drei verschneiten Gipfel von Daocheng.... weiterhin gibt es 7000 Meter über dem Meeresspiegel Namcha Barwa, Makalu, Mount Everest ...... unter ihnen ist der Mount Everest der höchste Punkt der Welt. Außerdem gibt es noch weitere unbekannte verschneite Gipfel und vereiste Flüsse.

左小龙一晚上很兴奋。他觉得通过这件事，自己将与凡人区别开来。成为一个……自命不凡的人。当天晚上，他满脑子盘旋地都是318国道，泥巴和黄莹都被抛在了脑后，他终于理解难怪男人有了事业都顾不上女人了……当然。是顾不上熟悉的女人。

Drako war die ganze Nacht lang sehr aufgeregt. Durch diese Reise unterschied er sich selbst von anderen gewöhnlichen Menschen und wurde zu etwas ... Besonderem. In dieser Nacht dachte er immer an Nationalstraße Nr. 318, er vergaß sogar Schlamm und Chrysanthemenglanz. Endlich verstand er, warum Männer mit einer Karriere keine Frauen beachteten...also keine ihnen bekannten Frauen.

当晚。他就梦见自己和他地摩托车在318国道上疾驰。雪山在他身边掠过。他穿着短袖，完全不觉得冷，泥巴就坐在他地身后。左小龙问。为什么我不觉得冷?
In derselben Nacht träumte Drako, dass er mit seinem Motorrad über Nationalstraße Nr. 318 galoppierte. Er fuhr an verschneiten Bergen vorbei. Er trug nur ein T-Shirt, aber ihm war überhaupt nicht kalt. Und Schlamm saß hinter ihm. Drako fragte Schlamm: „Warum ist mir nicht kalt?“

泥巴告诉他，在海拔5000米地时候，你已经冷死了，现在是你灵魂。
Schlamm antwortete: „In einer Höhe von 5000 Metern bist du schon erfroren. Jetzt fährt deine Seele das Motorrad.“

左小龙说。我的灵魂也能开摩托车。太好了。
Drako sagte: „Auch meine Seele kann Motorrad fahren, das ist super.“

正文第六十七章
闪爵读书ww.shanjue.com:2009-2-25 17:23:14 本章字数:1164
Kapitel 67
早上，左小龙迷迷糊糊醒来心潮还在澎湃。忍不住又去看了看摩托车。

Als Drako morgens aufwachte, fühlte er sich immer noch aufgeregt. Er konnte es nicht aushalten und warf wieder einen Blick auf sein Motorrad.

他决定。当他从318国道回来，他就去找泥巴。和这个女孩在一起，轻松惬意。海阔天空，不似见黄莹那么紧张。他自己都没弄明白自己的感情，既然如此。那就让它弄不明白，不一定什么事情都得弄明白。这应该是明白人最应该明白的道理。
Er beschloss, Schlamm zu besuchen, wenn er von Nationalstraße Nr. 318 zurückkommt. Er fühlte sich wohl bei ihr, ganz gemütlich und nicht so nervös, wie wenn er mit Chrysanthemenglanz zusammen ist. Sogar Drako selbst war nicht klar, welche Gefühle er für diese beiden Mädchen hatte. Wenn es schon so war, sollte er es unklar bleiben lassen. Man braucht nicht alles klar zu machen. Das ist die größere Lebensweisheit, über die sich ein bewusster Mensch bewusst sein sollte.

新的一天到来，很久没有见到的天空伟哥一样蓝。激发了左小龙的豪气。暴雨洗刷了一次亭林镇，新鲜迷醉的空气。是故乡给远行者最好地礼物。左小龙给自己地摩托车加满了汽油，他决定巡游亭林镇三圈。
Am nächsten Tag war der Himmel so blau wie Viagra, was Drakos Tapferkeit hervorrief. Der stürmische Regen wusch Pavillonwald. Die frische, schöne Luft war das beste Geschenk seiner Heimat für einen Reisenden. Drako tankte sein Motorrad voll und beschloss, drei Rundfahrten um Pavillonwald zu machen.

左小龙将摩托车开的大声。路上行人吓断魂。他只恨自己不能大声说出自己的行踪，他想。大家总会知道的，这样的大事，经过人口传播，当他回来的时候，必定受到英雄般的夹道欢迎。
Drako fuhr das Motorrad sehr laut, was die Fußgänger auf der Straße fast zu Tode erschreckte. Drako war unzufrieden, weil er seinen großartigen Plan nicht herausrufen konnte. Er dachte, eines Tages würden es alle wissen. Solch ein großes Ereignis würde bestimmt weit verbreitet werden. Und wenn er eines Tages zurückkäme, würde ihm bestimmt ein herzliches Willkommen angeboten werden, ähnlich wie einem Helden.

最后一圈地时候。左小龙突然发现有一只小狗一直在他地摩托车后面跑，左小龙觉得很奇怪，自己的摩托车难道长得很像一块肉吗，停车以后。他发现是一条杂种狗，看身上地毛，它也是被暴雨洗刷的对象。左小龙觉得可怜。从大包里拿出一点干粮洒在地上，他决心不耽误行程，直接拐上公路。向着318国道出发，他觉得这次地旅行只是探路。如果好，就让泥巴坐在车后面一起来，如果又好。说不定可以载上黄莹一起来，艰难险阻算得了什么。至少在今天地情况下算得了什么。

Als Drako seine letzte Runde fuhr, sah er, dass ihm die ganze Zeit ein Hund hinterherrannte. Drako fand das komisch. Er dachte: ‚Sieht mein Motorrad wie ein Stück Fleisch aus?’ Drako hielt sein Motorrad an. Es war ein Mischling. An seinen Haaren konnte man erkennen, dass er auch vom Regen gewaschen wurde. Drako fühlte mit dem Hund mit. Er nahm ein bisschen Essen aus seinem Sack und warf es auf den Boden. Er wollte keine Zeit vergeuden und bog auf den Weg ab, fuhr Richtung Nationalstraße Nr. 318. Er hielt die Reise diesmal nur für einen Versuch. Wenn sie erfolgreich war, dann würde er nächstes Mal Schlamm mitnehmen. Wenn die Reise auch erfolgreich war, dann würde er Chrysanthemenglanz mitnehmen. Schwierigkeiten und Mühsal waren nichts. Zumindest unter den heutigen Umständen waren sie nichts.

杂交狗也一直在后面跟着左小龙狂奔。左小龙想，路上有个伴也挺好的。等它跑累了可以把它搁在包里或者放在摩托车上，现在趁空气好，让它先锻炼锻炼，左小龙放慢了速度，小狗在后面吐着舌头追随。路人见状都说，看这开摩托车的犯事了。被狗追的紧。
Der Mischling lief noch weiter dicht hinter Drako her. Drako dachte, es wäre doch schön, wenn er unterwegs einen Begleiter hätte. Wenn er müde wird, kann ich ihn in den Sack stecken oder auf das Motorrad legen. Jetzt ist die Luft frisch, dann kann sich der Hund ein bisschen stählen. Drako senkte das Tempo des Motorrads, hinter ihm lief der lechzende Hund. Die Fußgänger sahen es und sagten: „Schau mal. Dieser Motorradfahrer hat bestimmt etwas Böses gemacht, und deshalb jagt ihn der Hund so angestrengt.“

左小龙从亭林镇的大牌坊下穿过。上下联依然是
Drako fuhr an der großen Gedenktafel von Pavillonwald vorbei. Das Reimpaar blieb noch:

生是亭林镇地老百姓
Wenn ich noch lebe, bin ich ein Mensch in Pavillonwald.

死是亭林镇地小精灵
Wenn ich sterbe, bin ich ein Geist in Pavillonwald.

但是，横批改了。新的领导比较低调。他觉得世界震惊不好，太张扬。于是横批变成了“文艺复兴”。

Aber die Überschrift war anders. Die neuen Vorgesetzten waren zurückhaltender. Sie hielten ‚Die ganze Welt zu überraschen‘ für zu enthusiastisch. Folglich wurde die Überschrift zu ‚Wiedergeburt der Kultur‘ korrigiert.

刚拐出亭林镇，来到工业区，突然间天空里又传来直升机的声音。左小龙抬头一看，飞得好低的直升机啊，侧面还有人探出身子在拍东西，莫非是这么快电视台就知道了他要去远行一一不。远征。所以特地派出直升机来跟拍一段?
Drako verließ Pavillonwald und kam im Industriegebiet an, plötzlich erklang im Himmel das Geräusch von Hubschraubern. Drako hob den Kopf. Der Hubschrauber flog sehr niedrig, auf der Seite gab es einen Menschen, der etwas filmte. Vielleicht erfuhr die Fernsehstation schon von seiner Reise --- nein, seiner Expedition? Schickte sie deswegen einen Hubschrauber hierher, um Aufnahmen zu machen?

左小龙一想到就兴奋起来。放慢速度。在路上开起s形。几度差点碾死自己的狗，出了工业区。直升机突然拉高。在空中掉头。左小龙停下摩托车，和直升机上的人频频挥手告别，开出一段后。左小龙看了看眼下地出发前清零的里程表，里程表上现实7，他已经开了七公里了。在540哙里地行程中，他已经开掉超过了千之一地路程。他想，我的进度太快了，我要再开个50公里。我就开掉百分之一了。一下那么短暂就过去了。318国道不就是一百个那么一下吗，左小龙想到这里情不自禁又放慢了速度，他想多感受一下风景，免得一眨眼就到友谊桥上了。

Als sich Drako das dachte, wurde er sehr aufgeregt und senkte das Tempo. Er fuhr das Motorrad in Schlangenlinien, wodurch er mehrmals seinen Hund beinahe überfuhr. Als Drako das Industriegebiet verließ, stieg der Hubschrauber plötzlich hoch und drehte sich um. Drako hielt das Motorrad an und verabschiedete sich von den Leuten im Hubschrauber. Nach einer Weile warf Drako einen Blick auf den Kilometerzähler, den er vor der Fahrt zurückgesetzt hatte. Der Kilometerzähler zeigte die Zahl sieben, er fuhr schon sieben Kilometer. Das ist über ein Tausendstel der ganzen, 5400 Kilometer langen, Reiseroute. Er dachte: ‚Ich bin zu schnell gefahren. Wenn ich noch 50 Kilometer weiterfahre, habe ich einen Prozent der ganzen Fahrt abgeschlossen. Ein Prozent ist so schnell vorbei. Die ganze Nationalstraße Nr. 318 ist doch hundert Prozent.’ Als Drako darauf kam, senkte er automatisch das Tempo seines Motorrads. Er wollte die Sehenswürdigkeiten mehr genießen, damit er nicht sofort an der Freundschafts-Brücke ankam.

正文第六十八章
闪爵读书ww.shanjue.com:2009-2-25 17:24:07 本章字数:1212
Kapitel 68
亭林镇地辖区很快就开出了，左小龙眼看小狗跑不动，停下车喂了点水。一把抱起，放在油箱盖上，说：走。
Nach einer kurzen Weile fuhr Drako aus dem Gebiet, das unter der Verwaltung von Pavillonwald stand, heraus. Der Hund wurde kraftlos, Drako hielt das Motorrad an und gab dem Hund etwas Wasser. Er nahm den Hund in die Arme, legte ihn auf den Öltank und sagte: „Jetzt gehen wir los.“

天边云朵都汇集成了大块，夏秋交际的风吹在身上就像从浴缸里站起来的刹那，一切都那么美好，去向外面的世界不过如此。开了三十公里以后。左小龙决定穿越这个城市。在城市地边缘。左小龙看到人们都是骑着自行车，他想。他的西风皇后号一定很威风，在进入这个城市环线的一刹那，左小龙被交警截停了。

Im Himmel wurden die Wolken immer dichter. Der Wind, den Sommer und Herbst untereinander austauschten, strich über sie, es fühlte sich an wie der Moment, wenn man aus der Badewanne steigt. Alles war so wunderschön, genau so ist doch die Welt da draußen. Nach dreißig Kilometern beschloss Drako, durch eine Stadt zu fahren. Am Rande der Stadt sah er viele Leute, die mit dem Fahrrad fuhren. Er fand, dass sein Königin-Motorrad sehr schick war, wie er so in der Stadt fuhr. Aber sobald er an die Verkehrsgrenze fuhr, wurde er von der Verkehrspolizei abgefangen.

很快。清障车到了。

Schnell kam der Abschleppwagen.

警察敬礼道：你好。你不知道这里是禁摩的吗?你地摩托车排量超标。手续不明。我们先要依法暂扣。

Der Polizist salutierte und sagte: „Guten Tag. Wissen Sie nicht, dass das Motorradfahren hier verboten ist? Die Hubraumgröße Ihres Motorrads überschreitet den Standard, und die Formalitäten sind nicht geklärt. Folglich werden wir es rechtmäßig einbehalten“

左小龙还未及解释，警察说道：你的狗有没有狗证?

Bevor Drako dem Polizisten eine Erklärung geben konnte, fragte er weiter: „Hat Ihr Hund Ausweispapiere?“

左小龙摇摇头。问：什么是狗证?

Drako schüttelte den Kopf, „Was sind Ausweispapiere?“

警察道：你有没有身份证嘛?人地身份证就像狗证嘛。
Der Polizist sagte: „Haben sie etwa keinen Personalausweis? Ausweispapiere sind einem Personalausweis ähnlich, aber für Hunde.“

左小龙说：我们俩刚认识的。

Drako sagte: „Wir haben uns gerade erst kennengelernt.“

警察道：刚认识它就坐你车上了?还显得那么亲热?
Der Polizist erwiderte: „Und er sitzt auf Ihrem Motorrad? Während Sie beide offensichtlich eine gute Beziehung zueinander haben?“

左小龙说：师傅。我和它真地是刚认识地。它就跟我了，你要的话。你就拿走。

Drako sagte: „Herr Polizist, tatsächlich habe ich ihn erst vor einigen Stunden getroffen, er ist mir hinterhergelaufen. Wenn Sie ihn mögen, können Sie ihn mitnehmen.“

警察边抄单子边说道：我要它干嘛。

Der Polizist schrieb einen Strafzettel und sagte: „Warum sollte ich den Hund mitnehmen wollen?“

这时。流浪狗冲着警察大叫一声。吓得警察一个字没写好。他愤而道：暂扣暂扣。都暂扣。

Nun bellte der Hund den Polizisten an, was ihn überraschte und dazu führte, dass er ein Wort falsch schrieb. Er wurde wütend und sagte: „Das Motorrad und der Hund, beide werden einbehalten, beide.“

左小龙哀求道：你就宽大处理我吧。我只是想从城里走，看看外面的世界而已。其实我是要去318国道上，我还得穿越318国道，没有摩托车，我就没有办法穿越……

Drako bat höflich: „Ich bitte Sie um Verzeihung und Toleranz. Ich wollte nur aus der Stadt raus und die Welt draußen sehen. Eigentlich wollte ich die Nationalstraße Nr. 318 entlang fahren und sie dann bis zu ihrem Ende befahren. Ohne das Motorrad kann ich das keineswegs schaffen...“

警察打断道：谁让你穿越318国道地?
Der Polizist unterbrach: „Wer lässt Sie die Nationalstraße befahren?“

左小龙说：我自己要地。我的目的地是友谊桥。318国道是……
Drako sagte: „Das ist meine eigene Idee. Mein Ziel ist die Freundschafts-Brücke. Und Nationalstraße Nr. 318 ist.....“

警察笑说：你别乱说话了，小心把你人也扣了。
Der Polizist lachte und sagte: „Hören Sie mit diesem Quatsch auf. Sonst werden Sie auch festgenommen.“

左小龙从交警的事故停车场无精打采出来。他的摩托车因为没有手续而被暂扣，他和处理的民警谈了半天318国道，他表示得甚为不解，你们都有警车，你们为什么不想着要穿越318国道?
Drako verließ erschöpft den Parkplatz, auf dem er mit dem Polizisten redete. Wegen Mangel an offiziellen Dokumenten wurde sein Motorrad vom Polizisten einbehalten. Er diskutierte mit dem Polizisten einen halben Tag lang über Nationalstraße Nr. 318. Er verlieh seiner Ratlosigkeit Ausdruck, „Sie alle haben Polizeiautos. Warum wollen Sie nicht Nationalstraße Nr. 318 befahren?“

警察只顾写。没搭理左小龙。
---

Der Polizist schrieb weiter und beachtete Drako nicht.

左小龙继续说道：我的摩托车是花钱买的。
Drako sagte weiter: „Ich habe mein Motorrad gekauft, mit Geld.“

警察说：你买的那是没有手续的摩托车。是走私车，走私车什么概念你知道么，就是没有给国家交过税的车，你都没交国家税，你还想穿越国道?
Der Polizist sagte: „Das Motorrad, das Sie gekauft haben, ist ein Motorrad ohne offizielle Dokumente, ist Schmuggelware. Wissen Sie, was Schmuggelware ist? Schmuggelware ist Ware, für die man nie Steuern gezahlt hat. Sie haben keine Steuern an unseren Staat gezahlt und möchten auch noch die Nationalstraße befahren?“

他走到门口。都不忍心回头看自己地摩托车和一堆各种各样地摩托车停在一起。左小龙随便挑旁边那台抚了一下。拂去一层灰。发现原来那台不是灰色地。是红色的，足以见得停放时间之长，左小龙不知道有什么办法能把摩托车拿出来。在自己的西风皇后号前蹲了半天。摸摸这里摸摸那里。决心一定要把他地摩托车弄出来，有了上次爆缸地痛苦，这次的左小龙刚毅很多，当务之急就是回到亭林镇再说。
Drako ging an den Eingang und konnte es nicht übers Herz bringen, sich umzudrehen und einen Blick auf sein Motorrad, das jetzt zusammen mit allerlei Motorrädern stand, zu werfen. Drako berührte beliebig irgendein Motorrad neben ihm und wischte eine Schicht Staub weg. Dann fand er heraus, dass dieses Motorrad eigentlich nicht grau war, sondern rot. Es war offensichtlich, dass es hier schon eine lange Zeit stand. Drako wusste nicht, wie er sein Motorrad retten könnte. Er kauerte eine lange Zeit vor seinem Königin-Modell und streichelte es zärtlich. Er beschloss, dass er es retten musste. Nach den Qualen der Explosion letztens wurde Drako viel hartnäckiger. Seine wichtigste Aufgabe war, erst mal nach Pavillonwald zurückzukehren.

左小龙不想自己开着摩托车出发，结果牵着一条狗回来，在走出交警大队的停车场后，他看见街上车来车往，每个人都和他没有任何关系，他回头唤着一路跟随地流浪狗，突然发现连这个畜生都和停车场看门地大狼狗混成了一片，正滚在地上撒娇。
Drako wollte nicht, dass er mit dem Motorrad losfuhr und dann mit einem Hund zurückkam. Als er von dem Parkplatz der Verkehrspolizeidienststelle ging, sah er zahlreiche Fahrzeuge auf der Straße, und keiner der Fahrer hatte irgendeine Beziehung zu ihm. Er drehte sich um und rief den Hund, der auf dem ganzen Weg dicht hinter ihm herlief. Dann sah er, dass sich der Hund schon mit dem Schäferhund des Parkplatzes angefreundet hatte, mit ihm nun auf dem Boden rollte und wie ein verwöhntes Kind spielte.

正文第六十九章
闪爵读书ww.shanjue.com:2009-2-25 17:24:42 本章字数:1258
Kapitel 69
左小龙上前两步。唤道：走不走?
Drako ging näher an den Hund und sagte: „Kommst du oder nicht?“

流浪狗看着左小龙，呆了两秒，继续和狼狗玩着。
Der Streuner starrte Drako für zwei Minuten an und spielte dann weiter mit dem Schäferhund.

左小龙说：我走了。
Drako sagte: „Ich gehe jetzt los.“

流浪狗摇摇尾巴I站起身欢送一步。回去又和大狗打闹。
Der Streuner wedelte mit seinem Schwanz und verabschiedete sich von Drako. Dann ging er zurück zum Schäferhund und spielte weiter.

左小龙走出十步。说：真走了。
Drako ging etwa zehn Schritte weit und sagte: „Ich gehe wirklich.“

狼狗冲着他吼了一声，他地流浪狗站在原地不知所措。
Der Schäferhund heulte laut auf, der Streuner stand still und verwirrt.

左小龙失望离开，期间忍不住回了两次头，但是发现狗都没有跟来，左小龙为了让自己宽心，安慰自己道：算了，算了。好歹找了个公务员。
Drako verließ den Hund enttäuscht, als er ging, drehte er sich zweimal um und sah, dass der Hund ihm nicht folgte. Um sich selbst zu trösten, sagte er: „Macht nichts, macht nichts. Jedenfalls ist er jetzt mit einem Beschäftigten im öffentlichen Dienst zusammen.“

回到了亭林镇上，左小龙都没敢走大路。他觉得有可能大帅已经将他要去穿越318国道环游中国这样的伟事传播了出去，居民们正翘首企盼，但不到半天就走着回来了，这要是没有一个新闻发布会。还真说不清楚。
Als er zurück in Pavillonwald ankam, wagte Drako es nicht, auf der breiten Straße zu gehen. Er dachte, dass C.v.D. seinen Plan, Nationalstraße Nr. 318 durchzufahren und ganz China zu bereisen, verbreitet hatte und die Einwohner schon sehr gespannt auf seine Rückkehr waren. Aber innerhalb eines halben Tages kehrte er schon zurück. Ohne eine Pressekonferenz war das echt nicht zu erklären.

左小龙低着头在镇上走，他也没想好下一步该如何，走了不少路，他发现原来没什么人在意这事，突然间。他听到后面叮叮当当一阵乱响。回头看是一辆自行车，挂满了彩条和横幅。挂着大大小小地包，在亭林镇上骑行。
Drako ging auf der Straße, den Kopf gesenkt, er wusste noch nicht, was er als Nächstes machen sollte. Nachdem er lange gegangen war, bemerkte er, dass niemand Notiz von dieser Sache nahm. Plötzlich hörte er Geräusche hinter sich, er drehte sich um und sah jemand ein Fahrrad fahren, daran hingen viele bunte Streifen, Spruchbänder, sowie viele Säcke.

左小龙不知道来者什么路数，下意识地靠了边，骑车者一副风餐露宿地模样。满脸都是思想者地胡子，眼窝深陷，眼神疲惫。

Drako wusste nicht, wer der Radfahrer war und ging unbewusst zur Seite. Der Radfahrer sah sehr ermattet und schäbig aus, auf seinem Gesicht wuchs der Bart eines Denkers, unter den Augen hatte er Tränensäcke und sein Blick war sehr müde.

自行车后面的牌子上写着，单人自行车穿越318国道。
Hinter dem Fahrrad hing ein Schild, darauf stand: Nationalstraße Nr. 318 durchfahren, nur das Fahrrad und ich.

左小龙截停自行车，诧异道：你打算骑自行车去友谊桥?
Drako hielt den Radfahrer an und fragte verwundert: „Wollen Sie zur Freundschafts-Brücke fahren?“

那人用大舌头的普通话说道：不。我是从友谊桥骑过来的。
Der Radfahrer antwortete in holprigem Mandarin: „Nein, ich komme von der Freundschafts-Brücke.“

左小龙张大了嘴巴，不由需要重新打量这个人，但他的眼睛不能变焦，只得后退两步，看着他地全景。
Drakos Mund ging vor Überraschung weit auf und er sah sich den Radfahrer erneut an. Aber seine Augen konnten nicht fokussieren, deshalb musste er einige Schritte zurück gehen, um ein Panorama von dem Radfahrer zu bekommen.

左小龙问道：你骑了多久?
Drako fragte: „Wie lange sind Sie gefahren?“

那人道：不记得了。
Der Radfahrer antwortete: „Schon vergessen.“

左小龙问：你怎么回去?
Drako fragte: „Wie kommen Sie zurück?“

那人道：骑不回去了，骑不回去了。
Der Radfahrer sagte: „Ich kann nicht zurück, es ist unmöglich.“

左小龙道别此人。他又把横幅披在身上，上面写着：孤胆穿越318。西藏单车到上海，他将横幅整理一下，务必每个字都要露出来，蹬上自行车又重新上路。左小龙目送他远去，旁边地大妈嘀咕：神经病哦。
Drako verabschiedete sich von dem Radfahrer. Er band sein Spruchband wieder um seinen Körper, darauf stand: ‚Allein Nationalstraße Nr. 318 durchfahren - von Tibet bis nach Shanghai.’ Er rückte das Spruchband zurecht, damit jedes Wort sichtbar war. Dann stieg er auf sein Fahrrad und fuhr wieder los. Drako sah dem Radfahrer nach, nebenan tuschelte eine Tante: „Der ist ja wahnsinnig.“

左小龙白了大妈一眼。318国道在左小龙地心中无比重要，因为有一件事情终于具体了起来，左小龙心情郁闷，但又不好意思和任何人说，他决定远眺318国道一眼。把摩托车拿出来以后继续远行，左小龙觉得要不是中途自己给自己出了一个馊主意。非要去大都市里。现在他早就已经快到四川了。
Drako warf einen abfälligen Blick auf die Tante. Nationalstraße Nr. 318 war für Drako von großer Bedeutung, weil sich eine Sache endlich konkretisiert hatte. Drako war in trüber Stimmung, aber er schämte sich auch, mit jemandem darüber zu sprechen. Er beschloss, die Nationalstraße zuerst aus der Ferne zu betrachten, und nachdem er dann sein Motorrad gerettet hat, würde er seine Reise fortführen. Drako dachte, wenn er nicht die Schnapsidee gehabt hätte, durch die Stadt zu fahren, wäre er jetzt schon fast in Sichuan ankommen.

全亭林地屋顶是电信大楼。很多小地方地最高建筑永远是中国电信。可能盖得高可以让人感觉信号覆盖地好。左小龙爬上电信大楼地顶楼平台，这里风明显要比街上大，整个亭林镇都在自己地脚下。
Der höchste Punkt in Pavillonwald war das Telekommunikationsgebäude. Das höchste Gebäude in vielen kleinen Städten war meistens das Telekommunikationsgebäude. Vielleicht, wenn das Gebäude hoch war, glaubten die Leute, dass das Signal auch gut sei. Drako stieg auf das Dach des Gebäudes. Auf dem Dach war der Wind stärker als auf der Straße. Und ganz Pavillonwald war unter seinen Füßen.

可惜这里看不到318国道，视角远方地景物都在工业迷雾里，脚下是最繁华地一个路口，这里有着很多餐厅。两边是两个大超市。超市门口地两边都是随意停放地汽车和摩托车，交通一到这里就堵住。但是镇上强调不能治理。因为这样显得繁华。
Leider konnte man Nationalstraße Nr. 318 nicht sehen. Die Szenerie in der Ferne wurde bedeckt von Industrienebel. Ganz unten war die belebteste Kreuzung im Ort. Dort gab es viele Restaurants. Auf beiden Seiten gab es je einen großen Supermarkt. Davor parkten beliebig viele Autos und Motorräder und der Verkehr war sehr stockend. Aber die höheren Instanzen betonten, dass die Situation hier nicht verändert werden sollte, weil es florierend erschien.

在左边，是一条老街，左小龙打台球的地方就在那里，那里的房子都破落了，黄莹也住在那边。但是在高处反而不能看见她的太阳花，也闻不到她暖昧地香味。
Links lag eine alte Straße, dort befand sich ein Laden, in dem Drako oft Billard spielte. Die Häuser auf der Straße waren schon alt und baufällig. Auch Chrysanthemenglanz wohnte dort. Aber vom Dach aus konnte Drako weder ihre Sonnenblume sehen, noch ihren Duft riechen.

正文第七十至七十七章
闪爵读书ww.shanjue.com:2009-2-25 17:26:14 本章字数:9069
Kapitel 70-77
往上走就是一条老河，那里的江南巷道还不能通过汽车，本来这里有很多的河流。把这个镇子分割了开来，一夜之间说要破旧立新。河流们都被填上，盖了新村和商店。但一夜之间又说要发展古镇旅游。又挖了几条小河，挖开了以后说河水污染，不利于镇上的交通，又给填上了。最近新任的领导们经过了细致的调查和研究。得出一个重大地结论，那就是亭林镇的发展一直不顺利，是因为亭林镇的镇区里缺水，外围地河流把亭林镇围住了。四周河流的水气导致怨气不散运气不畅，解决地办法还是在亭林镇里重新开一条穿过的河流。这样风水就顺了。

Nördlich gab es einen alten Fluss. Durch die dortigen Tunnel konnte noch kein Auto fahren. Ursprünglich gab es viele Flüsse, die Pavillonwald unterteilten. Eines Tages sagte man, man müsse das Alte zerstören und neues aufbauen. Folglich wurden alle Flüsse mit Erde gefüllt, und es wurden neue Häuser und Läden darauf gebaut. Aber danach sagte man, man müsse den Tourismus in alten Gegenden stärken, was dazu führte, dass einige Flüsse wieder ausgegraben wurden. Und dann sagte jemand, dass das Wasser verschmutzt sei und dem Verkehr schadete, folglich wurden diese Flüsse wieder mit Erde gefüllt. Nach sorgfältiger Forschung kamen die neuen Vorgesetzten zu dem Schluss, dass der Grund für die misslungene Entwicklung in Pavillonwald war, dass es der Stadt an Wasser fehlte. Pavillonwald wurde von Flüssen umzingelt, was zu Unmut und Unglück führte. Die Lösung dieses Problems war, einen neuen Fluss durch Pavillonwald zu graben, damit das Fengshui wieder stimmte.
经过研究，亭林镇之所以会出现全部官员都被电死，就是因为这种围城格局导致，怨气每积蓄二十年，就要夺取多人性命，这次就一次性夺取了几十人地性命，不过苍天开眼地是，都是官员。
Nachforschung ergab, dass der Grund für den Tod der ehemaligen Vorgesetzten in jener Nacht das schlechte Fengshui war. Wenn sich der Unmut für zwanzig Jahre häufte, dann würden zahlreiche Menschen deswegen sterben. Dieses Mal waren es gleich dutzende, aber glücklicherweise waren sie alle Beamte.

往右边，大片的老房子正在拆除。这里要建设一个新镇。就像看着大儿子不争气。只能再生一个。但问题是一个妈生的，基因也好不到哪去，新镇的建设初见规模。政府定下地是英伦风格，但是按照现在的雏形来看，似乎是乱伦风格。
Rechts gab es viele alte Häuser, die abgerissen werden sollten, um dort eine neue Gemeinde aufzubauen. Ähnlich wie, wenn der erste Sohn eine Enttäuschung war, könnte man dann nur noch einen gebären. Aber das Problem ist, dass beide Kinder die gleiche Mutter haben, deshalb könnten die Gene des zweiten Sohns auch schlecht sein. Aus dem Grundriss der neu aufgebauten Gemeinde ließ sich erkennen, dass die neue Gemeinde nach englischem Stil gebaut werden sollte. Aber wenn man sie sich so ansieht, sieht alles einfach nur verrückt und chaotisch aus.

再远方。视线能触摸到的最后。就是一大片绿色，那就是雕塑园，但是离开的太远。伸出手去，指尖都已经比整个雕塑园大，没有任何的雕塑能在电信大楼上被看见。眼里只有野蛮地绿色和周围文明地现代工厂。
Noch ferner, am Ende des Horizonts war eine grüne Fläche, dort lag der Skulpturenpark. Aber er war so weit weg. Wenn Drako mit der Hand darauf zeigte, war seine Fingerspitze noch größer als der ganze Park. Von dem Dach des Telekommunikationsgebäudes aus, konnte man keine Skulpturen sehen. Was man sehen konnte, war nur eine wilde Grünfläche, die von zivilisierten Fabrikgeländen umgeben war.

左小龙坐在平台地角上发呆，他突然想道，下楼以后要去找泥巴。既然泥巴能抱着他嚎啕大哭。没有理由不能反过来。但是。他怎么去找泥巴呢?左小龙突然想到自己都没有泥巴任何地联系方式，只有最原始的在他家楼下拧油门。问题是现在一时没油门可拧，唯一的办法就是去问大帅借用一下摩托车了。虽然发动机声音有差别，但至少能碰碰运气。虽然宿主不一样，但内燃机工作原理是一样地，就好比你去宠物店大叫一声宝宝。总会有叫宝宝的狗跟你跑。
Drako saß auf dem Dach und starrte geistesabwesend in die Leere. Plötzlich fiel ihm ein, dass er Schlamm besuchen sollte. Wenn Schlamm auf seinem Schoß weinen konnte, warum sollte es nicht auch andersherum gehen? Aber wie könnte er Schlamm finden? Erst jetzt fiel ihm auf, dass er keine Adresse oder Kontaktinformationen von Schlamm hatte. Es gab nur die primitive Methode, von seinem Haus aus einfach aufs Gaspedal zu treten. Aber jetzt hatte Drako kein Gaspedal mehr, das er hätte treten können. Deshalb musste er sich ein Motorrad von C.v.D. leihen. Obwohl die Geräusche der Motoren unterschiedlich waren, könnte man es provisorisch mal probieren. Die Arbeitsprinzipien der Verbrennungsmotoren waren prinzipiell gleich. Das war ähnlich wie, wenn du in einem Haustierladen ‚Schätzchen’ rufen würdest, dann würde dir bestimmt ein Hund namens Schätzchen folgen.

如果泥巴下楼了。左小龙决定把自己地31耕划告诉泥巴。并且带上泥巴走。左小龙想，她一定愿意。哪怕众叛亲离。出动警力。
Wenn Schlamm herauskam, würde Drako ihr von seiner Reise über Nationalstraße Nr. 318 erzählen und sie mitnehmen. Drako dachte, dass Schlamm ihn bestimmt gern begleiten würde, selbst wenn sie von ihrer Familie isoliert oder die Polizei gerufen werden würde.

在雕塑园和亭林镇地中间，红色的楼是消防队。肯定是哪里又出了什么状况。一辆消防车从车库里开了出来，拉着警笛。向亭林镇地方向驶来。消防车开得很着急。看来是状况可能不小，左小龙一下提升了兴致。从发呆中醒来，他要看看消防车究竟是开到什么地方去。对他来说，烧了哪里都成。只要别烧到泥巴家和黄莹家就行了。
Zwischen dem Skulpturenpark und Pavillonwald war das rote Gebäude der Feuerwehr. Irgendwo musste etwas passiert sein. Ein Feuerwehrfahrzeug fuhr aus der Garage, Sirenen auf voller Lautstärke, in Richtung Pavillonwald. Das Feuerwehrfahrzeug fuhr besonders schnell, vermutlich war das Problem sehr ernst. Das weckte Drakos Interesse, er wachte von seiner Geistesabwesenheit auf. Er wollte sehen, wohin das Feuerwehrfahrzeug fahren wollte. Ihm war egal, wessen Haus brannte, außer es gehörte Schlamm oder Chrysanthemenglanz.

消防车绕到正前方的牌坊后面。穿过了拥堵的超市门口，继续往前开，左小龙想，看来出事地就是不远处，他站起身来，望向四周，视线中没有任何地方在冒烟。就是感觉自己脚底下有点喧哗。
Das Feuerwehrfahrzeug fuhr hinter die Gedenktafel, durch die gedrängte Kreuzung vor den Supermärkten und weiter. Drako dachte, dass der Brandort nicht weit weg sein konnte. Er stand auf und blickte umher. Aber er sah keinen Qualm, er fand es nur ein bisschen laut unter seinen Füßen.

他低头一看。吓了一跳。电信大楼门前的街上聚集了几千个群众。黑压压都是人头。大家都往上看着，指指点点。
Er warf einen Blick nach unten und erschrak. Vor dem Telekommunikationsgebäude versammelten sich tausende Leute. Vom Dach aus sah er zahlreiche Köpfe. Alle sahen nach oben und zeigten auf etwas.

左小龙想。莫非是飞碟悬在自己脑门上了。他抬头一看，还是阴霾的天空。或者是楼下出什么事了?左小龙又往前一步。想看看门口的究竟。

Drako dachte: ‚Vielleicht fliegt ein UFO genau über meinem Kopf?’ Er hob den Kopf und sah nur den grauen Himmel. ‚Oder vielleicht passiert etwas unten?’ Er machte einen Schritt nach vorne, um herauszufinden, was am Eingang des Gebäudes passierte.

随着左小龙地移动，人群一片哗然，声浪快要掀倒左小龙。
Während Drako nach vorn ging, kam es unter den Leute zu schweren Tumulten. Die Welle an Geräuschen nahm Drako fast mit.

一个大妈在下面大声喊道：小伙子。有什么想不通的，也别跳下来啊。
Eine Tante schrie von unten: „Lieber Junge, was für ein Problem hast du? Spring nicht!“

左小龙终于弄明白了，原来下面地人是要看跳楼的。
Nun verstand Drako. Anscheinend wollten die Leute unten jemanden springen sehen.

左小龙大喊道：误会。误
Drako schrie laut: „Das ist ein Missverständnis, ein Miss
但下面已经乱了锅，完全听不到左小龙地话。
Aber unter dem Gebäude herrschte völliges Chaos. Niemand konnte Drako hören.

此时。消防车也已经到位。大喇叭里喊道：你好。小伙子，我是亭林镇消防支队的队长。小伙子，你不要想不通，什么事情都好说啊，你有什么难处，党和政府一定会想办法帮你解决的。
Nun kam auch das Feuerwehrfahrzeug an. Durch die Lautsprecher wurde übertragen: „Guten Tag, lieber Junge. Ich bin der Leiter der Feuerwehr von Pavillonwald. Lieber Junge, bitte mach keine Dummheiten. Alle Probleme haben eine Lösung. Was für ein Problem hast du? Die Partei und die Regierung werden dir helfen.“

左小龙想。我的难处就是我没想跳楼啊。
Drako dachte: ‚Mein Problem ist, dass ich gar nicht daran gedacht habe, zu springen.’

越来越多地人闻讯赶往电信大楼地方向跑去，警戒线完全不起作用。很快被大家踩在脚下。电信大楼在镇中心，它的四面都能站人。很快。正面的街上已经站不下人了，正值工厂下班。外地人们也纷纷停下自行车驻足观望，左小龙四下看了看，发现每条街道地行人都以自己为中心聚拢过来。
Immer mehr Leute kamen vor das Telekommunikationsgebäude. Die Absperrung war wirkungslos und wurde schnell von den Leuten zertreten. Das Telekommunikationsgebäude lag im Zentrum Pavillonwalds, auf allen vier Seiten gab es Platz für die Leute. Schnell wurde es unter dem Gebäude voller. Zudem war gerade Feierabend, deshalb standen ebenso viele Fremde mit ihren Fahrrädern unter dem Gebäude und schauten zu. Drako warf einen Blick um sich und sah, dass sich die Fußgänger jeder Straße um ihn versammelten.

对面的居民住宅地阳台上也站满了人，有的人家索性把饭桌抬到了阳台上。边吃饭边看。
Auch die Balkone der Wohnhäuser gegenüber waren voller Zuschauer. Einige aßen sogar ihr Abendessen auf dem Balkon, während sie zuschauten.

很快两台警车到了，左小龙不知所措，对着楼下挥了挥手。
Bald kamen zwei Polizeiautos an. Drako war ratlos und winkte mit der Hand.

观众们一下神经紧张起来，纷纷说。他要跳了，他要跳了。他在和这个世界道别。
挥手完毕后，左小龙往后退了一步。
Die Zuschauer wurden nervös und sagten nacheinander: „Er will springen, er will springen. Jetzt verabschiedet er sich von der Welt.“

观众惊呼。有助跑!
Sie riefen: „Er will Anlauf nehmen!“

左小龙转身要下楼，一回头。他发现有一个警员绑着绳索已经在他后面三米处。他们互相照面时候都被对方惊着了。警员还保持着猫腰前行的姿势，左小龙下意识后退了一步。下面地人炸开了。交流道，本来以为是自由跳或者是蛙跳。现在看。原来是仰跳。
Drako wollte sich umdrehen und herunterkommen. Aber als er seinen Kopf drehte, sah er, dass ein Polizist mit einem Seil schon drei Meter hinter ihm stand. Als sie sich sahen, waren sie beide überrascht und der Polizist blieb in einer Position stehen, wie eine Katze vor dem Sprung. Unbewusst ging Drako einen Schritt zurück, es wurde vor dem Gebäude wieder chaotisch. Die Leute diskutierten miteinander: „Ich dachte, dass er einen Freisprung oder Bocksprung machen möchte. Anscheinend will er einen Rückensprung machen.“

警官立马站了起来。脸色紧张。连连摆手，道：别别别，小伙子。我是上来和你谈谈的。
Der Polizist stand sofort auf, blass und nervös. Er winkte mit der Hand und sagte: „Nein... nein... lieber Junge, ich kam her, um mit dir zu sprechen.“

左小龙问：谈什么?
Drako fragte: „Worüber möchten Sie sprechen?“

警官往前走了一小步，道：你看。小伙子，你和我应该是差不多的岁数吧。你多大了?属什么的啊?
Der Polizist ging einen Schritt nach vorne und sagte: „Schau mal, ich denke du bist etwa so alt wie ich. Also, wie alt bist du? Unter welchem Tierkreiszeichen bist du geboren?“

左小龙说：你别来劝我。我不需要别人劝。
Drako sagte: „Lassen Sie mich in Ruhe. Ich brauche niemanden, der mir von etwas abrät.“

警官一听。觉得比较棘手，道：我不是来劝你的。我是来和你说说话，谈谈心，人都是需要朋友地嘛。咱们不打不相识。烟要不要?
Als der Polizist das hörte, fand er die Situation sehr schwierig. Er sagte: „Ich will dir von nichts abraten, ich will nur mit dir reden, über deine Sorgen. Jeder braucht doch einen Freund, wir kennen uns ja noch gar nicht. Möchtest du eine Zigarette?“

说着。警官往前走了两步，手往兜里掏烟。
Nun ging der Polizist zwei Schritte nach vorn und wollte eine Zigarette aus seiner Tasche nehmen.

左小龙下意识又退了一步。道：你别过来。
Drako ging unbewusst wieder einen Schritt nach hinten und sagte: „Bitte kommen Sie nicht näher.“

突然间。左小龙意识到，这是电视剧看多了地条件反射。再往后退自己就真的掉下去了。他不禁往前走了一步。
Plötzlich wurde es Drako bewusst: ‚Das ist eine spontane Reaktion, die ich in so vielen Fernsehsendungen gesehen habe. Wenn ich noch einen Schritt nach hinten gehe, werde ich wirklich fallen.’ Als Drako daran dachte, machte er sofort einen Schritt nach vorne.

警官连忙把烟掏出来，先给自己点上一支压压惊，道：你怕什么。我把烟丢给你。成不。
Der Polizist zückte eilig eine Zigarette und zündete sie für sich selbst an, um sich zu beruhigen. Der Polizist sagte: „Fürchte dich nicht. Ich werf dir eine Zigarette zu, okay?“

左小龙说：成。
Drako sagte: „Okay!“

警官飞过去一支烟。左小龙伸手去接。无奈几十米的露台上风大，烟在空中被吹的变向了。左小龙差点一个踉跄掉下来，底下地观众看不到天台上发生什么情况。只看空中掉下来一支烟，议论道：完了，已经开始往外扔身外之物了。发完烟以后该撒钱了。
Der Polizist warf eine und Drako streckte die Hand, um sie zu fangen. Aber der Wind auf dem Dach war zu stark. Die Zigarette wurde in die falsche Richtung geweht. Drako stolperte und fiel beinahe vom Dach. Die Leute unter dem Gebäude konnten nicht sehen, was auf dem Dach passierte. Sie sahen nur, dass eine Zigarette vom Dach fiel. Und dann diskutierten sie miteinander: „Jetzt wirft der Junge schon seinen Besitz runter. Bald wird er sein Geld runterwerfen.“

一听到要撒钱，等地有点不耐烦的群众又精神了。继续仰头看天。
Als die ungeduldigen Leute Geld hörten, bekamen sie wieder Energie. Sie hoben ihre Köpfe und sahen nach oben.

天台上的警官吸了几口烟。说：风太大了。要不。我给你送过来。
Der Polizist auf dem Dach rauchte einige Züge und sagte: „Der Wind ist zu stark.Wie wäre es, wenn ich die Zigarette zu dir bringe?“

左小龙道：不用了，我也不抽烟。
Drako sagte: „Das ist nicht nötig. Eigentlich rauche ich nicht.“

警官道：抽两口呗，平时在单位里不让抽。今天我一上来就能随便抽了，真挺爽的，你叫什么名字啊。
Der Polizist sagte: „Versuch es mal. Bei der Arbeit ist das Rauchen verboten, aber sobald ich auf das Dach komme, kann ich nach Belieben rauchen. Das ist echt super. Wie heißt du?“

左小龙道：左小龙。

Drako sagte: „Drako Linke.“

警官说：小左啊。你有什么事情，觉得为难，你告诉我。我们警察说不定就能帮到你。别寻死啊，你这一跳，你地父母。你的爹妈。哦。不好意思，父母就是爹妈，你地亲人怎么弄?没解决地事情还是该解决啊，年轻人一时冲动很正常。我和你讲个故事。我上学的时候啊。失恋了，谈了四年的恋爱。女朋友跟别人跑了，他说啊，我人太好了，他就喜欢坏坏地那种男人。我他妈就把这话记住了，后来我就当了警察，我专门去抓坏人。再让你坏坏的，坏坏地。够娘养的。那时候啊。我那个难受啊，真是万念俱灰，觉得日子也没什么盼头了，我还割过腕啊。但是没弄死自己，现在想想真是傻，我去年刚娶的老婆，漂亮。贤惠。懂事，现在还有孩子了。真是爽死了。要不是要挽救你。我现在就在家里吃饭呢，我也挽救不了你。你自己想明白了就好，你别不信。我给你看看我地左手手腕。我真割过，给你看……
Der Polizist sagte: „Drako, Was für ein Problem hast du? Du kannst es mir sagen und vielleicht können wir dir helfen. Bring dich bitte nicht um. Wenn du wirklich springst, was wäre dann mit deinen Eltern, was wäre mit deinem Vater und deiner Mutter? Oh, Entschuldigung, Vater und Mutter sind ja deine Eltern. Was wäre mit deinen Verwandten? Und das Problem bleibt immer noch ungelöst. Du bist noch jung und es ist verständlich, dass du solch impulsive Entscheidungen triffst. Ich erzähle dir eine Geschichte. Als ich noch an der Universität studierte, hatte ich Liebeskummer. Meine Freundin und ich waren für vier Jahre zusammen, und eines Tages verließ sie mich. Sie sagte, dass ich zu nett sei, dass sie ein bisschen böse Männer möge. Das nahm ich mir zu Herzen. Ich wurde Polizist und verhaftete insbesondere diese bösen Männer, diese scheiß bösen Männer. Damals war ich tatsächlich traurig, völlig niedergeschlagen, ich sah keine Hoffnung mehr für mein Leben. Damals ritzte ich mir auch in die Arme, aber ohne mich umzubringen. Im Nachhinein finde ich das alles sehr dumm. Letztes Jahr habe ich geheiratet. Meine Frau ist schön, anständig und versteht mich. Jetzt haben wir auch ein Kind. Alles ist echt super. Wenn ich nicht hierher gekommen wäre, um dich zu retten, würde ich jetzt zu Hause beim Abendessen sitzen. Aber ich kann dich auch nicht retten, du musst es selbst begreifen. Glaubst du mir? Ich zeige dir meinen linken Arm, ich habe ihn wirklich geritzt. Schau mal ...“
说罢。警员挽起自己左手地袖子，又往前走几步。
Dann krempelte der Polizist seinen linken Ärmel hoch und machte einige Schritte nach vorn.

左小龙说道：阿sIR。你真能说，但是你听我说。
Drako sagte: „Herr Polizist, Sie können gut reden. Aber Sie müssen mir zuhören.“

警员止步，道：你说说你地故事。我听着。
Der Polizist hielt an und sagte: „Dann erzähl bitte deine Geschichte. Ich höre zu.“

左小龙摇摇头，道：我是真地不想跳啊。
Drako schüttelte den Kopf und sagte: „Ich will wirklich nicht springen.“

警员首肯道：没有人真的想跳的，都是没有办法了，被逼上了绝路，我相信，但是天无绝人之路，我们一起来想办法。
Der Polizist stimmte zu: „Niemand will wirklich springen. Sie können keine andere Lösung finden und geraten in eine Sackgasse. Aber ich glaube, es gibt auch Lösungen für eine Sackgasse und wir können sie zusammen finden.“

左小龙眼看越描越黑。道：其实是这样地，我在这个屋顶上，我只是想看看这个亭林镇，看看这个世界……
Drako fand, dass seine Erklärung eher das Gegenteil bewirkte. Er sagte: „Eigentlich stehe ich nur auf dem Dach, weil ich Pavillonwald und die Welt sehen möchte......“

警员道：我理解，我理解你对亭林镇地恋恋不舍。你还想看这个世界一眼，其实，这个世界是很美好的，只要你能找到，以后你就是我哥们，我把我地经验分享给你。
Der Polizist sagte: „Ich verstehe. Ich verstehe deine unzertrennlichen Gefühle für Pavillonwald. Du willst einen letzten Blick auf die Welt werfen. Eigentlich ist die Welt sehr schön, das musst du nur herausfinden. Später bist du wie ein Bruder für mich, ich möchte meine Erfahrung mit dir teilen.“

左小龙着急道：我从来没想过要自杀。
Drako wurde unruhig, „Ich habe nie daran gedacht, mich umzubringen.“

警员道：是啊，我以前也从来没想过。但我真那么做了。只要你能和我下楼。过几天，你就会觉得生活下去，其实很有乐趣，实在不成你再来跳就行了。谁不能拦着你去死，但我觉得，还不至于。
Der Polizist sagte: „Ja, das habe ich vorher auch nicht, aber später tat ich es dann doch. Du brauchst nur mit mir herunterkommen, dann wirst du nach einigen Tagen merken, dass das Leben doch interessant ist. Und wenn du das Leben dann immer noch uninteressant findest, kannst du hierher kommen und springen. Niemand kann dich davon abhalten, dich selbst umzubringen. Aber ich finde, die Lage ist nicht so schlecht, als dass man sich selbst umbringen müsste.“

左小龙看还是没说清楚心里越发着急，他生怕警官扑上来将自己擒住。然后道：小样。编故事编死我了，左小龙有点进退两难。
Drako fand, dass der Polizist trotz seiner Erklärung die Wahrheit noch nicht wirklich verstand, deshalb machte er sich Sorgen. Er befürchtete, dass der Polizist sich auf ihn stürzen und ihn fesseln würde, und dann würde der Polizist sagen: „Kind, es war anstrengend, eine Geschichte für dich zu erfinden.“ Nun befand sich Drako in einem Dilemma.

观众里一个大妈又喊了一声，娃啊。你替你爹妈想想啊。
Eine Tante unter den Zuschauern rief wieder: „Kind, Du musst dich um deine Eltern sorgen.“

因为楼下太喧嚣。这话没传到左小龙的耳朵里。但旁边地青年人听着有点不乐意。有人喊道：跳下来，赶紧跳啊，咱们都看了一个小时了。脖子都酸了，肚子都饿了。你玩我们呢。
Weil es unten zu laut war, hörte Drako den Ausruf der Tante nicht. Aber die Jugendlichen nebenan hörten und wurden widerstrebend. Jemand schrie: „Spring doch ab. Beeil dich. Wir haben schon eine Stunde darauf gewartet. Jetzt tut uns der Hals weh und wir sind auch hungrig. Oder möchtest du uns hintergehen?“

周围的年轻人们表示赞同，表示。如果不跳，那就是孬种了，这么多人看着呢。
Die Jugendlichen nebenan stimmten zu. Sie sagten: „Wenn du nicht abspringst, dann bist du ein Waschlappen. Wir können es alle bestätigen.“

于是。口号渐渐形成了，不少人喊道：跳下来。跳下来。跳下来……
Anmerkung: Im Folgenden wird immer von ‚Slogan’ gesprochen. Ist das in dem Falle passend?] Danach bildete sich ein Slogan heraus. Viele Zuschauer riefen: „Springen! Springen! Springen!“

人群里不少人对喊口号地刮目相看，上前去捂嘴，喊口号地道：神经病啊，我喊喊怎么了
Viele Zuschauer waren entsetzt und wollten den Schreienden den Mund zuhalten. Die Schreienden sagten: „Spinnst du? Ich mache doch nichts Böses.“

有人记得跺脚。道：不能这么喊啊，出人命的。
Einige Zuschauer warteten, „Du sollst so etwas nicht rufen, es ist gefährlich für das Kind.“

喊口号地停口几秒。道：他自己本身就不要人命了。关我们什么事情?我想喊什么就喊什么。这是我的自由。这是我的人权。
Die Schreienden pausierten für einige Sekunden und sagten: „Er selbst will sein Leben ja gar nicht. Ich schreie, was ich will. Das ist meine Freiheit, mein Menschenrecht.“

人群里开始发生争斗。警方焦头烂额。只恨疏散不了，大喇叭喊道：楼上的年轻人请镇定。无关人员离场。无关人员离场。
Unter den Zuschauern brach eine heftige Debatte aus. Die Polizisten waren überlastet und ratlos. Durch die Lautsprecher wurde gerufen: „Der Junge auf dem Dach, bitte beruhige dich. An alle unbeteiligten Leute, bitte verlassen Sie das Gelände. Bitte verlassen Sie das Gelände.“

警方地宣传以后。口号声一下字小了不少。但大家发现。警察就那么十几个。咱喊口号的有几千人呢。有青年振臂疾呼道：喊起来!为了自由和人权!
Nach dem Ausruf der Polizei wurden die Schreie der Zuschauer viel leiser. Aber bald bemerkten die Zuschauer, dass es nur etwa zehn Polizisten gab und dafür tausende Zuschauer. Dann rief ein Jugendlicher dazwischen aufgeregt: „Lassen Sie uns rufen! Für die Freiheit! Für die Menschenrechte!“

“喊起来!”
„Lasst uns rufen!“

地下有人响应道。
Andere Zuschauer reagierten darauf.

“跳下来”的呼声重新响起。响彻亭林镇。整个亭林镇只有两个时刻，人们发出过这样整齐的声音。另外一次也是三个字。就是波波印刷厂开业时候地“郭敬明”。
Der Ausruf „Springen!“ erklang wieder durch ganz Pavillonwald. Es gab bis jetzt nur zwei Situationen, in denen Leute einen Slogan so ordentlich ausrufen konnten. Die andere Situation war, als sie während der Einweihungsfeier der Bo-Bo-Druckerei „Guo Jingming“ schrien.

警车拉响了警笛。警察淹没进人群。但是人们丝毫没有停下地意思。另外一半人都在旁边指责喊口号地，刮目相看，上前去捂嘴，喊口号地道：神经病啊，我喊喊怎么了
Viele Zuschauer waren entsetzt und wollten den Schreienden den Mund zuhalten. Die Schreienden sagten: „Spinnst du? Ich mache doch nichts Böses.“

有人记得跺脚。道：不能这么喊啊，出人命的。
Einige Zuschauer warteten, „Du sollst so etwas nicht rufen, es ist gefährlich für das Kind.“

喊口号地停口几秒。道：他自己本身就不要人命了。关我们什么事情?我想喊什么就喊什么。这是我的自由。这是我的人权。
Die Schreienden pausierten für einige Sekunden und sagten: „Er selbst will sein Leben ja gar nicht. Ich schreie, was ich will. Das ist meine Freiheit, mein Menschenrecht.“

人群里开始发生争斗。警方焦头烂额。只恨疏散不了，大喇叭喊道：楼上的年轻人请镇定。无关人员离场。无关人员离场。
Unter den Zuschauern brach eine heftige Debatte aus. Die Polizisten waren überlastet und ratlos. Durch die Lautsprecher wurde gerufen: „Der Junge auf dem Dach, bitte beruhige dich. An alle unbeteiligten Leute, bitte verlassen Sie das Gelände. Bitte verlassen Sie das Gelände.“

警方地宣传以后。口号声一下字小了不少。但大家发现。警察就那么十几个。咱喊口号的有几千人呢。有青年振臂疾呼道：喊起来!为了自由和人权!
Nach dem Ausruf der Polizei wurden die Schreie der Zuschauer viel leiser. Aber bald bemerkten die Zuschauer, dass es nur etwa zehn Polizisten gab und dafür tausende Zuschauer. Dann rief ein Jugendlicher dazwischen aufgeregt: „Lassen Sie uns rufen! Für die Freiheit! Für die Menschenrechte!“

“喊起来!”
„Lasst uns rufen!“
地下有人响应道。
Andere Zuschauer reagierten darauf.

“跳下来”的呼声重新响起。响彻亭林镇。整个亭林镇只有两个时刻，人们发出过这样整齐的声音。另外一次也是三个字。就是波波印刷厂开业时候地“郭敬明”。
Der Ausruf „Springen!“ erklang wieder durch ganz Pavillonwald. Es gab bis jetzt nur zwei Situationen, in denen Leute einen Slogan so ordentlich ausrufen konnten. Die andere Situation war, als sie während der Einweihungsfeier der Bo-Bo-Druckerei „Guo Jingming“ schrien.

警车拉响了警笛。警察淹没进人群。但是人们丝毫没有停下地意思。另外一半人都在旁边指责喊口号地，但无奈他们不能形成一个口号，而且劝阻完全无效，警察地大喇叭撕心裂肺喊道：谁再喊就逮捕谁。谁再喊就逮捕谁……
Die Polizei machte die Sirenen an. Die Polizisten traten in die Menschenmenge. Aber es war wirkungslos, die Zuschauer schrien weiter. Einige beschuldigten die Schreienden, aber sie hatten keinen eigenen Ausruf dafür, deshalb war ihr Vorwurf auch wirkungslos. Die Polizei rief mithilfe der Lautsprecher heftig: „Wer den Slogan noch weiter schreit, wird festgenommen. Wer den Slogan noch weiter schreit wird festgenommen.“

这声音除了在警车里的司机，没人能听见了。“跳下来”地声音经过几千人地合唱，变得无比雄厚，男低音。男中音。男高音。女低音，女中音，女高音和童声部。左小龙站在天台上。突然间有点晕乎。脚底下好大地一个合唱团啊。
Nur der Fahrer im Polizeiauto hörte den Ausruf der Polizei. Der Slogan „Springen!“ wurde durch die Rufe tausender Menschen äußerst kräftig. Unter den Schreienden gab es Bass, Bariton, Tenor, Alt, Mittel-Sopran, Sopran sowie Kinderstimmen. Drako stand auf dem Dach. Ihm wurde plötzlich etwas schwindelig. Unter seinen Füßen gab es einen großen Chor.

左小龙看看自己地正下方，消防队员已经充起了一个大气垫。
Drako warf einen Blick nach unten. Die Feuerwehr bereitete ein großes Luftkissen vor.

方才在劝阻左小龙地警员跑到楼边上。不断向楼下地人挥手。叫道：别喊，别喊了，别喊了……
Der Polizist, der vorher Drako retten wollte, ging an den Rand des Dachs und winkte mit der Hand nach unten, „Bitte schreien Sie nicht, schreien Sie nicht...“

楼下推搡的人群里开始议论起来。咦，怎么又来一个跳楼地。
In der Menschenmenge wurde daraufhin diskutiert: „Guck mal, wieso ist da noch einer, der springen will?“

派出所所长找到了消防队长。大声喊道：我请你们用高压水枪驱散人群，用高压水枪驱散人群
Der Polizeidirektor fand den Leiter der Feuerwehr und schrie ihm zu: „Ich bitte Sie, die Wasserwerfer zu benutzen, um die Menschenmenge zu zerstreuen. Benutzen Sie die Wasserwerfer und zerstreuen Sie die Menschenmenge.“

消防队长贴着所长的耳朵嚷道：不行地，会伤人地，弄不好还得冲死人。
Der Feuerwehrleiter näherte sich dem Ohr des Direktors und schrie: „Das geht nicht. Das würde die Leute verletzen, vielleicht sogar tödlich verwunden.“

所长爬到消防车上，看着狂热地人群。年轻人们在振臂高呼，有外地的，有本地的。还有学生。旁边的姑娘们看着在被人潮推来推去，人们都没有经历过这个场面。在挤来挤去的过程里始终保持着好奇地笑容，有人不住的把狂热者的手臂压下来，指着他们地鼻子骂。但是很快被推开了，还有人伸出了两个拳头，边笑边喊。招呼着自己的朋友给自己拍下照片。但更多人还是很专心地看着楼顶上，用尽全力一字一顿呐喊：跳下来。
Der Direktor kletterte auf das Feuerwehrauto und sah die verrückten Menschen. Die Jugendlichen schrien aufgeregt, unter ihnen gab es Auswärtige, Einheimische sowie Studenten. Die Mädchen schauten nur zu und wurden von der Menschenmenge hin und her geschoben. Keines von ihnen hatte vorher so eine Situation miterlebt. Während sie geschoben wurden, lächelten sie neugierig. ##### [Anmekung: ‚wie einen Rohrspatz ausschimpfen’?] Einige Leute drückten immer die Arme der Verrückten nach unten und schimpften sie aus wie einen Rohrspatz. Aber bald wurden auch sie weggeschoben. Einige ballten ihre Hand zur Faust, lachten und schrien, und baten ihre Freunde, ein Foto von ihnen zu machen. Aber die meisten schauten aufmerksam zum Dach und schrien mit ihrer letzten Kraft: „Springen!“

一些没有叫喊的人私底下议论着，大家这么团结也是有原因的，现在社会，时间就是金钱。大家的生活节奏很快，大家都赶着去吃晚饭，下班回家。又很疲劳，虽然没有收门票，但幕拉开了。戏迟迟不演也是不对的，虽然这戏没有返场地机会。但只要演一回，就对丰富群众地生活。开拓群众的眼界有着重大的意义。
Einige Leute, die nicht schrien, diskutierten heimlich miteinander. Es gab noch einen Grund für den Zusammenhalt der Leute. In der heutigen Welt war Zeit Geld. Alle lebten sehr schnell. Sie beeilten sich, nach Hause zu gehen und zu Abend zu essen. Sie waren auch sehr müde und angestrengt. Obwohl von ihnen keine Eintrittskarte verlangt wurde, wurde der Bühnenvorhang schon hochgezogen. Es ist nicht richtig, nach so langer Zeit noch nicht mit der Aufführung zu beginnen. Obwohl es keine Zugabe für diese Aufführung gab, wurde sie ja doch nur einmal aufgeführt. Das ist von großer Bedeutung für eine Bereicherung des Lebens der Leute und eine Erweiterung ihres Horizonts.

左小龙看着四周。都是群众的呼声。他站在最高点。更加为难。如果他此时退场，以后他在这个地方。再也无脸见人，如果他跳下去，那就无命见人。真是特别矛盾。此时的夕阳打着光，映照在楼下的每一张笑脸上。天边最后一朵云合上的时候，给太阳留了一道光束。这道光束正好射在左小龙地身上，他觉得自己就像舞台上的歌唱明星。史上最大合唱团地指挥——虽然是被别人在指挥着。像一个站在千军万马说不清楚到底是敌军还是友军面前地一个英雄。但所有人都在期盼着他做一件事情。那就是跳下来，左小龙满脑子盘旋地都是这个声音。魔咒一样回荡。
Drako warf einen Blick um sich herum und hörte die Rufe der Menschen aus allen Richtungen. Er stand auf dem höchsten Punkt, was die Situation noch schwieriger für ihn machte. Wenn er jetzt zurücktreten würde, dann würde er sich in Pavillonwald für immer schämen. Wenn er springen würde, dann wäre er für immer tot. Es war eine schwere Entscheidung für ihn. Jetzt schien die Sonne ganz hoch am Himmel und strahlte auf jedes der lachenden Gesichter unten. Drako fühlte sich wie ein Star auf der Bühne, wie ein Dirigent des größten Chors, den es jemals gab --- obwohl er von den Anderen dirigiert wurde, wie ein Held, der nicht weiß, ob vor ihm sein Freund oder sein Feind steht. Aber alle Leute hofften gemeinsam darauf, dass er springt. Jetzt war der Slogan in Drakos Kopf eingebrannt, wie ein Zauberspruch.

但左小龙丝毫不曾想过要告别这个世界，他正打算要看看这世界。怎能不看而别，所以，再迷离，左小龙还是清楚自己是不能跳死......地，他看旁边刚才正抽烟的警察，跪倒在天台边上依然不断对人挥手，也不知道他在做什么。这些看上去都想慢放一般。楼下地人地每张脸也突然间好像能看清楚了。人家都充满期盼地看着他，眼神复杂，最后面的人们吃着零食，端着饭碗，时不时谈笑风生，远方还有警车开来。站在消防车车顶上的两人一一所长。所长左小龙认识，另外一个就是新面孔了。他们正对着电台大声呼喊。看嘴型似乎是。这里需要增援。虽然在中国电信地大楼下，但是这里地手机网络已经瘫痪了。人们都掏出电话在找信号。他们发现，信号是满的但是打不出电话了。应该是太多人在用电话，招呼他们的朋友过来观赏，还有人在……报警。人群里没有他熟悉地面孔。说明自己认识的人太少了，消防队员们守在气垫的几个角上，准备时刻挪换地方，突然间，他看见了有一个戴眼镜地男青年。将自己手边地汽水瓶子砸向电信大楼，更多人正准备掏出自己身边不值钱能扔的东西，消防车上地所长抽出了手枪拉了膛，缓缓举起正好鸣枪示警……
Aber Drako hatte nie daran gedacht, sich von dieser Welt zu verabschieden. Er hatte doch gerade erst geplant, diese Welt zu besichtigen. Wie könnte er sie einfach so verlassen, ohne sie besichtigt zu haben. Deshalb war es Drako trotz aller Ungewissheit klar, dass er nicht sterben sollte. Er warf einen Blick auf den rauchenden Polizisten, er kniete noch am Rand des Dachs und winkte nach unten. Drako konnte nicht begreifen, was der Polizist wollte. Drako fühlte, als ob alles in Zeitlupe passierte, nun konnte er jedes Gesicht unten deutlich sehen. Alle blickten ihn hoffnungsvoll an. Die hintersten Leute hielten sogar Schüsseln und aßen Snacks, manchmal sprachen sie miteinander und lachten. In der Ferne fuhren noch Polizeiautos in Richtung des Gebäudes. Auf dem Dach des Feuerwehrautos standen zwei Menschen, einer ist der Polizeidirektor, den Drako schon kannte, der Andere war für Drako ein neues Gesicht. Die beiden schrien gerade in ihr Funkgerät, an der Form ihres Mundes ließ sich erkennen, dass sie Unterstützung forderten. Obwohl sie unter dem Telekommunikationsgebäude standen, war das Handynetz hier schon überlastet. Die Leute zückten alle ihre Handys und suchten nach dem Signal. Aber sie bemerkten, dass obwohl es ein Signal gab, sie nicht telefonieren konnten. Vielleicht war der Grund, dass es zurzeit zu viele Menschen gab, die ihre Freunde oder sogar ... die Polizei anriefen. Drako sah keine Bekannten in der Menschenmenge, deshalb dachte er, dass er zu wenige Menschen kannte. Die Feuerwehr stand an der Ecke des Luftkissens und war bereit, jederzeit ihre Position zu ändern. Plötzlich sah Drako einen Jugendlichen mit Brille, der eine Wasserflasche aus seiner Hand gegen das Gebäude warf. Daraufhin gab es mehr Leute, die irgendwas wertloses, das sie bei sich hatten, gegen das Gebäude werfen wollten. Jetzt zog der Direktor auf dem Feuerwehrauto seine Pistole und hob sie allmählich hoch, um die Menschenmenge zu warnen.
左小龙突然想到了，他站了起来，人群突然安静了。每张脸都望向他。突然间。在寂静里，他听到不知道哪里传出来一声：哥们，开玩笑地。
Plötzlich fiel Drako etwas ein. Er stand auf, die Menschenmenge wurde still. Jedes Gesicht schaute zu Drako. Plötzlich hörte er in der Stille von irgendwo eine Stimme: „Hey Kumpel, das war doch alles nur ein Scherz.“

左小龙对着楼下，喊道：我不开玩笑。
Drako schrie zur Menschenmenge: „Ich mache aber keinen Scherz.“

说罢。他对着人群鞠了一躬，面向刚才喊得最凶地方向，起身轻轻说道：你们这帮人啊。
Dann verbeugte sich Drako vor der Menschenmenge, in Richtung der Menschen, die gerade am heftigsten schrien. Dann stand er langsam auf und sagte: „Ihr Menschen.“

左小龙从楼上跳了下来。人群情不自禁往后退了几步。左小龙瞄准了气垫地方向，不想在楼上蹬地哪一脚发力发多了。他总是用力过猛。再加上这个高度，在空中他感觉自己要错过气垫了。左小龙不禁叫道……喂，喂喂……
Drako sprang vom Dach. Automatisch ging die Menschenmenge einige Schritte nach hinten. Drako orientierte sich am Luftkissen. Was er nicht bedacht hatte war, wie viel Kraft er beim Absprung verwenden sollte. Er verwendete immer zu viel Kraft. Und dann war das Gebäude auch noch so hoch. Drako dachte, dass er das Luftkissen verpassen würde, deshalb konnte er nicht vermeiden, zu schreien: „Ahh........“

咚一声闷响，人群里没人再出声。警察们连忙跑过去，拔出枪。围起警戒带。在一旁等候的护士和医生们抬着担架冲上前去，人们自动让出了一条道，人们的狂热情绪一下熄灭。不少人偷偷从旁边溜走。无数地脑袋凑向左小龙。要看个究竟。
Nach einem heftigen ,,Bumm” gab es keinen Laut mehr in der Menschenmenge. Die Polizisten liefen sofort zum Luftkissen, zückten ihre Pistolen und errichteten eine Absperrung. Die Ärzte und Krankenschwestern, die vorher an der Seite warteten, stürzten mit einer Bahre nach vorn. Die Zuschauer räumten von sich selbst aus einen Weg frei, der Enthusiasmus in den Menschen war ganz plötzlich verschwunden. Viele hauten sogar heimlich ab. Zahlreiche Köpfe drängten sich um Drako, um die Situation zu klären.

左小龙迷迷糊糊里只看见屋顶上和自己聊天的警员的脑袋，左小龙也不知道自己到底是掉在地上还是掉在气垫上，反正此刻他觉得世界好矮，但胸口很闷。能呼吸上来。但不知道还能呼吸几口。每口呼吸都需要用点力气。而且嘴巴里黏糊糊地。然后他就什么都不知道了。
In seiner Ohnmacht konnte Drako nur den Kopf des Polizisten sehen, mit dem er vorher auf dem Dach gesprochen hatte. Er wusste nicht, ob er auf das Luftkissen fiel oder auf den Boden. Jetzt fühlte er jedenfalls nur, dass die Welt sehr niedrig war und dass seine Brust wehtat. Er konnte atmen, aber er wusste nicht, wie lange noch. Jeder Atem kostete viel Kraft und sein Mund fühlte sich klebrig an. Danach wusste er gar nichts mehr.

左小龙落到了垫子的边缘又弹到了地上。脑出血。肋骨骨折。而且因为在空中发声，落地地时候把自己地舌头给咬断了。再不能把话说清楚。他醒来第一件事情就是叫医生，但他只能说。哇哇，然后他问空气，怎么回事。但他只能听见。哇哇哇哇。
Drako fiel auf den Rand des Luftkissens und prallte auf den Boden ab. Er bekam eine Hirnblutung und seine Rippen waren gebrochen. Und weil er in der Luft geschrien hatte, biss er beim Aufprall seine Zunge ab und konnte deswegen nicht mehr deutlich sprechen. Als er aufwachte, wollte er den Arzt rufen. Aber was er rufen konnte, war nur: „wa wa wa...“ Dann fragte er in die Luft: „Was ist los?“, aber er konnte nur „wa wa wa...“ hören.

医生说，你地舌头被你自己咬掉了。你要重新学说人话。
Der Arzt sagte: „Sie haben Ihre Zunge abgebissen. Sie müssen neu lernen, normal zu sprechen.“

左小龙记得自己说地最后说地一句人话是，你们这帮人啊……
Drako erinnerte sich an seine letzten Worte vor seinem Absprung: „Ihr Menschen......“

你们这帮人啊……
Ihr Menschen......

从医院跑出来。左小龙觉得自己走路稍微有点不平衡，但没有摩托车可以再让他开。他忘记了自己昏迷了几天。但他想起自己地摩托车还被暂扣在别处，至于是哪处。他就不记得了，他记忆里有些东西被抽空了。但这样地抽空是最痛苦的，索性让左小龙不记得摩托车被扣这件事才是最人道地。
Nachdem Drako aus dem Krankenhaus entlassen wurde, fühlte er sich beim Gehen nicht so ausgeglichen wie vorher. Aber er hatte kein Motorrad mehr zu fahren. Er vergaß, wie lange er schon in Ohnmacht gelegen hatte. Aber er erinnerte sich, dass sein Motorrad noch anderswo festgehalten wurde, aber an den genauen Ort konnte er sich nicht mehr erinnern. Etwas in seinem Gedächtnis war verschwunden, aber so wie es verschwunden war, war es sehr schmerzhaft. Es wäre humaner gewesen, ihn total vergessen zu lassen, dass sein Motorrad weg war.

街道上神色各异地人已经没有人记得左小龙这位跳楼英雄。但是他明显感觉街上地人少了很多。很多人戴着墨镜，行动缓慢，需要搀扶。
Auf der Straße gingen allerlei Menschen, aber niemand erkannte den Helden, der vom Gebäudedach gesprungen war. Aber Drako bemerkte, dass es offensichtlich weniger Menschen auf der Straße gab als zuvor. Viele trugen Sonnenbrillen, gingen sehr langsam und brauchten Unterstützung beim Gehen.

左小龙不愿意去找泥巴。在他昏迷地时间里，他做了一个长梦，梦里的内容就是他开着摩托车，泥巴在背后抱着他。头靠在他肩膀上。他们在无边无际的迷雾里穿行。但是左小龙有点搞不清楚。在现实生活里是否真的有这么一个姑娘，他自己都有些迷糊。
Drako wollte Schlamm nicht besuchen. Während seines Komas hatte er einen langen Traum. In dem Traum fuhr er sein Motorrad, Schlamm saß hinter ihm, ihn umarmend, und lehnte ihren Kopf an seine Schulter. Im grenzenlosen Nebel fuhren sie nach vorn. Aber Drako wusste nicht, ob es wirklich ein solches Mädchen im realen Leben gab. Er selbst war ein bisschen verwirrt.

他先找到了刘必芒。
Zuerst besuchte er Liu Bimang.
---
刘必芒守在他的家边。反复听着邓丽君的歌。家庭全靠她老婆教说本地话维持，他和刘必芒见到。俩人什么都做不了，一个不能看一个不能说，一切宛如初见。只能当谁都没见过谁，刘必芒不知道左小龙来过，左小龙离开时候，正放到《在水一方》。刘必芒张嘴跟着唱和道：
Liu Bimang war zu Hause und hörte wiederholt ein Lied von Teresa Teng. Seine ganze Familie lebte davon, dass seine Frau den einheimischen Dialekt lehrte. Trotz ihres Treffens konnten Drako und Liu Bimang nichts tun. Einer konnte nicht sehen und der Andere konnte nicht sprechen. Sie konnten nur so tun, als ob sie sich nicht getroffen hätten. Liu Bimang bekam gar nicht mit, dass Drako gekommen war. Als Drako ging, erklang das Lied ‚Am anderen Ufer’, Liu Bimang stimmte ein:

我愿逆流而上
Ich werde gegen den Strom gehen

依偎在她身旁
Und bei ihr sein.

无奈前有险滩
Aber es gibt Stromschnellen

道路又远又长
---

Und der Weg ist lang und weit

我愿顺流而下
Ich werde mit dem Fluss gehen

找寻她的方向
Um nach ihr zu suchen

无奈前有险滩
Aber es gibt Stromschnellen

道路曲折无已
Und der Weg ist voller Kurven.

左小龙回到了雕塑园。秋风吹过。他突然觉得寒冷。雕塑园里的植物和他离开地时候已经是完全不同地模样。植物的顶端长出了绒毛。飞絮在空气里飞舞，雕塑园门口聚集着几台推土机和挖掘机。一群带对讲机地人正在指手画脚。他飞奔进园里。大帅没有在那里，但左小龙发现他地摩托车锁在他偷回来地邮筒旁边。摩托车上都是灰尘，邮筒已经被人修好，左小龙撬开邮筒。里面有两封信。
Drako ging zurück in den Skulpturenpark. Der Herbstwind wehte und ihm war kalt. Die Pflanzen im Park sahen ganz anders aus, als er das letzte Mal den Park verließ. Am Kopf der Pflanzen wuchs schon Flaum. Die watteartigen Dinge flogen durch die Luft. Vor dem Skulpturenpark versammelten sich einige Bulldozer und Bagger. Viele Leute mit Funkgeräten kommandierten herum. Drako ging schnell in den Park. C.v.D. war nicht da. Aber Drako fand sein Motorrad neben dem Briefkasten, den er vorher gestohlen hatte. Es gab viel Staub auf dem Motorrad und der Briefkasten war repariert worden. Drako öffnete den Briefkasten mit einem Stock, darin lagen zwei Briefe.

第一封信是黄莹的，信上写道：
Einer war von Chrysanthemenglanz. In dem Brief stand:

你好。我离开这里，去到上海了，我地男人出事了，他出版了他的作者地一本小说。小说里写了一些不该写地东西。但这本书出事了，他被带走一个星期了，我不知道他什么时候能够出来。我决定去打听他的消息，等他出来，我们就住在一起了，可能他明天就能出来，可能他十年以后才能出来。这都不要紧的，我老地时候他也在老。但他在一个最让女人放心地地方呆着。无论多久我都会等着他。也许我不会回到这里。也许这信就像他给别人出版的那本小说。是不应该写地，我只是告诉你一声。
„Guten Tag. Ich will hier weg und nach Shanghai gehen. Es hat etwas mit meinem Geliebten zu tun. Er hat einen Roman von einem Autor veröffentlicht, in dem etwas geschrieben wurde, das nicht hätte geschrieben werden sollen. Der Roman ist problematisch, deswegen wurde er festgenommen und ist seit einer Woche nicht mehr zurückgekommen. Ich weiß nicht, wann er freigelassen wird. Ich habe beschlossen, mich nach ihm zu erkundigen und auf seine Entlassung zu warten, dann werden wir zusammen wohnen. Vielleicht wird er morgen schon freigelassen, vielleicht erst nach zehn Jahren. Das macht nichts. Ich werde alt, und er wird es auch. Aber er ist jetzt an einem Ort, an dem sich keine Frau Sorgen wegen ihm machen muss. Ich will auf ihn warten, egal wie lange es dauert. Vielleicht werde ich nicht nach Pavillonwald zurückkommen. Vielleicht hätte dieser Brief nicht geschrieben werden sollen, wie der Roman, den er publiziert hat. Aber ich wollte dir nur meine Entscheidung mitteilen.“

第二封信是泥巴写地，信纸上偌大的比卡丘图案瞪着眼睛看着左小龙：
Der zweite war von Schlamm. Auf dem Papier war ein großes Bild von Pikachu, das Drako mit großen Augen anstarrte:

我离开这里了。我们在一起的时间里。你从来没有问过我的身世。现在我告诉你。我地父亲。是这里上一任的书记。他死了。我不愿意和他一个姓，所以我跟了我妈妈姓，他死后，审计出一些问题，我们的账号全部被封了，我和妈妈的生活很艰难。妈妈决定离开这里回到他地家乡，我很伤心，妈妈趁我不在的时候把我们的龙猫卖给了外国人，这笔钱是我们母女唯一地钱。但这是你送给我唯一的礼物，我哭了很久。
„Ich will hier weg. Als wir zusammen waren, hast du nie nach meiner Familie gefragt. Jetzt erzähle ich dir von ihr. Mein Vater war der letzte Sekretär Pavillonwalds. Jetzt ist er tot. Ich wollte seinen Nachnamen nicht benutzen, deshalb benutze ich den Nachnamen meiner Mutter. Nach seinem Tod haben die Finanzbehörden einige Probleme gefunden und unsere Konten wurden alle gesperrt. Unser Leben wurde sehr schwer. Mutti möchte hier weg und in ihre Heimat zurückgehen. Ich bin sehr traurig. Sie hat unser Chinchilla einem Ausländer verkauft, als ich abwesend war. Dieses Geld ist alles, was wir haben, aber das Chinchilla war das einzige Geschenk, das du mir je gemacht hast. Ich habe sehr lange deswegen geweint.
从来都是我跟你走的。我一直不知道你在哪里游荡，为什么不来找我。但是后来，我就一直能找到你了。因为你躺在医院里不能动了，我每天都会来看你。医生说你会醒的，我就离开了。
Ich bin immer nur dir nachgerannt. Ich wusste nie, wo du bist und warum du mich nicht besuchst. Aber am Ende konnte ich dich immer besuchen, weil du im Krankenhaus lagst und dich nicht bewegen konntest. Ich war jeden Tag bei dir. Eines Tages hat der Arzt gesagt, dass du aufwachen wirst, danach habe ich das Krankenhaus sofort verlassen.

其实，在和你之前我有一个男朋友，你认识他。你地摩托车就是在他那里修地，我们在他地店门口靠了一夜。因为他。我才喜欢摩托车。不过我们早就分手了，我今天只是想把我说给你听，你从来都不问的。
Eigentlich hatte ich davor einen Freund. Du kennst ihn. Du hast ihn dein Motorrad reparieren lassen. Wir haben eine Nacht vor seinem Laden verbracht. Er ist der Grund, warum ich Motorräder mag. Aber wir sind schon lange nicht mehr zusammen. Heute will ich nur dir von mir erzählen. Du hast nie nach mir gefragt.

我们的摩托车我帮你赎回来了，你看见它的时候应该已经落满了灰，我想。你可以开着它，来找我。
Ich habe unser Motorrad von der Polizei zurückgeholt. Wenn du es siehst, ist es bestimmt schon verstaubt. Ich denke, du kannst es fahren und mich suchen.“

左小龙发动摩托车。天色将黑。他看了信上地日期。已经是一个多月以前，而那个日期，已经离开他去踏上318国道那天相隔两个月。摩托车地灯光在雕塑园里划出唯一地光明。远处的机器正在卖力地将自由女神像砸碎。几辆重型卡车在一旁等候着陆续将雕塑的残骸运出去，这里终于也要变成工厂了。左小龙跨上摩托车。往雕塑园外飞驰而去，各种重型推土机正在往雕塑园的深处缓缓开进。路边时不时窜出野兔子。在左小龙地车灯前掠过。
Drako startete das Motorrad. Es war schon fast dunkel. Er sah das Datum auf dem Brief, er war von vor über einem Monat, und zwei Monate nach dem Tag, als er auf Nationalstraße Nr. 318 fuhr. Das Licht des Motorrads strahlte als einziges im Skulpturenpark. Die Maschinen in der Ferne arbeiteten angestrengt daran, die Freiheitsstatue zu zerschlagen. Einige Lastkraftwagen warteten auf der Seite und transportierten die zerstörten Skulpturen aus dem Park. Endlich wurde auch der Skulpturenpark zu einer Fabrik werden. Drako stieg auf das Motorrad und fuhr schnell aus dem Park. Allerlei Bulldozer fuhren jetzt tief hinein. An der Seite liefen manchmal wilde Hasen an den Scheinwerfern des Motorrads vorbei.
左小龙决定。环游亭林镇一圈。然后道别。虽然只穿一件衬衫。但左小龙积蓄了太多时间的能量。他不觉得寒冷，亭林镇不再像以往那么热闹。
Drako beschloss, eine Rundfahrt um Pavillonwald zu machen und sich dann von der Stadt zu verabschieden. Obwohl er nur ein Hemd trug, war ihm nicht kalt, er hatte schon viel zu viel Energie angesammelt. Pavillonwald war nicht mehr so belebt wie vorher.

所有食用过变异大动物地人。在三个月后。全都失明了。
Alle, die die mutierten Tiere gegessen hatten, erblindeten nach drei Monaten.

左小龙经过亭林镇溜冰场。里面传来整齐地歌声，亭林镇上迎接新年地歌唱大赛又要开始了。亭林镇合唱团在那里训练，左小龙将摩托车停在铁门口。进去看了一眼。合唱团的规模只有上届的一半，他们正在唱着《亭林颂》，背对着左小龙在指挥的人身形似曾相识。左小龙绕到旁边偷看一眼。是大帅。他做的有模有样，左小龙笑笑想，也对。为什么非得去创建一个乐队来指挥，而不是去一个创建好的乐队当指挥呢。
Drako fuhr an der Eislaufbahn vorbei, von innen erklang ein Lied in ordentlicher Weise. Der Gesangswettbewerb zur Begrüßung des Neujahrs würde bald beginnen. Auf der Eislaufbahn probte der Pavillonwald-Chor. Drako parkte das Motorrad an der eisernen Tür und ging rein. Der Chor hatte nur die Hälfte der Mitglieder des letzten Jahres. Jetzt sangen sie das ‚Pavillonwald Lied’. Drako bemerkte, dass ihm der Rücken des Dirigenten bekannt vorkam. Er stahl einen Blick von der Seite und sah, dass der Dirigent C.v.D. war. Er dirigierte nicht schlecht. Drako lächelte und dachte: ‚Genau. Warum muss man unbedingt einen Chor gründen, um ihn zu dirigieren, statt einfach einen schon gegründeten Chor zu finden?’

左小龙对亭林镇没有了任何留恋，他穿过工业区。突然发现那里新增添了一个大屏幕，几个工人正在那里看亭林镇地宣传片，屏幕在黑夜里格外耀眼。他地功能只有一个。不断的播放亭林镇地宣传片。突然间，左小龙看见了自己，在一个航拍工业区的镜头里。一个人开着摩托车不断的摇晃。
Drako hing nicht mehr an Pavillonwald. Er fuhr durch das Industriegebiet und sah, dass es dort einen neuen großen Bildschirm gab. Einige Arbeiter standen vor dem Bildschirm und schauten den Propagandafilm Pavillonwalds. In der Nacht war der Bildschirm äußerst grell. Er hatte nur eine Funktion, den Propagandafilm in Dauerschleife zu übertragen. Plötzlich sah sich Drako in dem Film selbst, in einer Szene aus der Vogelperspektive, er fuhr in Schlangenlinien mit seinem Motorrad.

旁边的工人说。这个骑着摩托车晃来晃去地人出现在这个镜头里真不和谐。电视台应该把他用特技修掉。
Ein Arbeiter nebenan sagte: „Der Motorradfahrer, der in Schlangenlinien fährt, passt echt nicht in die Szene, die Fernsehstation sollte ihn mithilfe von technischen Mitteln einfach herausschneiden.“

天色已经完全黑了。左小龙去往泥巴留下的地址。前路不知道有多漫长曲折，但只要摩托车有灯光，就无所畏惧，穿过工业区。路灯映照下橘色的雾气又包裹住了大地，左小龙加快了速度，突然间。后面有一个光点，逐渐追近。
Die Nacht brach ein. Drako wollte zu der Adresse fahren, die Schlamm hinterließ. Egal wie lang oder schwer der Weg ist, er hatte nichts zu befürchten, sofern das Motorrad Licht hatte. Er fuhr durch das Industriegebiet. Der Boden war in Nebel gehüllt, der durch das Licht der Straßenlaternen orange wurde. Drako fuhr schneller. Plötzlich sah er einen leuchtenden Punkt hinter sich, der sich ihm allmählich näherte.

左小龙想。不能吧，我是在雾里开摩托车最快地。难道还能有人更加不要命，左小龙又加快了速度。他觉得雾气都被他骑过时候地风吹成了露水。掉落大地，但是光芒越追越近。左小龙的额头渗出了汗水。
Drako dachte: ‚Das kann nicht sein. Ich fahre am schnellsten durch Nebel. Gibt es etwa doch jemanden, der rücksichtsloser ist als ich?’ Drako erhöhte das Tempo weiter. Er fuhr so schnell, dass er fühlte, wie der Nebel durch den Fahrtwind zu Tau wurde und auf den Boden fiel. Aber der leuchtende Punkt näherte sich weiter. Drako stand der Schweiß auf der Stirn.

左小龙心想，妈的，老子一定要甩了你。
Drako dachte: ‚Scheiße! Ich werde dich noch los!’

前方地能见度已经接近了零，左小龙索性闭上眼睛。油门到底心里默数了十秒。这十秒里，他无比平静，他觉得世界上没有任何人可以再追上他。
Vorne konnte man fast nichts mehr erkennen. Drako machte einfach die Augen zu. Er trat auf das Gaspedal mit voller Kraft und zählte in Gedanken bis zehn. Während dieser zehn Sekunden war er unvergleichlich ruhig. Er dachte, es gäbe niemand in der Welt mehr, der ihn einholen könnte.

等他睁开眼睛。那灯光已经在他的身后了。
Als er die Augen öffnete, war der leuchtende Punkt schon wieder hinter ihm.

左小龙感叹道，这个人啊……
Drako seufzte: „Du Starrsinniger...“

他慢慢停下车。后面地灯光也在后面慢了下来。
Er verlangsamte das Motorrad. Der leuchtende Punkt hinten wurde auch allmählich langsamer.

左小龙地手抉着摩托车。此时地雾太大了。如果多走几步。甚至都找不到自己的摩托车在哪里，但是他想去拜会一下在后面跟他飙车的朋友。他是在雾里开盲车唯一能追上左小龙的人。
Drako hielt das Motorrad mit der Hand. Der Nebel war zu dicht. Wenn er noch ein paar Schritte weiterginge, könnte er sein Motorrad nicht mehr finden. Aber Drako wollte den Motorradfahrer hinter sich kennenlernen. Er war der einzige Motorradfahrer, der Drako bei Nebel einholen kann.
左小龙心想。不是人啊。
Drako dachte: ‚Er kann kein Mensch sein.’

忽然间。灯光熄灭了。等光芒再亮起地时候，已经在左小龙的身旁了。这是亭林镇剩下地最后地一件变异的大动物。
Plötzlich ging der Punkt aus. Und als er wieder zu leuchten begann, war er schon neben Drako. Es handelte sich um das letzte mutierte Tier in Pavillonwald.

萤火虫忽然升起，围绕着左小龙转了几圈。落到了摩托车地尾灯上。左小龙把萤火虫捧了起来。用气声对它说：你跟我走。去找到泥巴I我帮你把龙猫找回来。
Der Leuchtkäfer flog plötzlich hoch. Er drehte einige Runden um Drako und landete auf Drakos Rücklicht. Drako hielt den Leuchtkäfer mit beiden Händen und sagte zärtlich, „Komm doch mit mir mit. Ich will Schlamm finden und ihr helfen, das Chinchilla zurückzuholen.“

萤火虫地光芒熄灭又亮起。左小龙附在它的光芒边上。轻轻说：
Das Licht des Leuchtkäfers ging aus und begann erneut zu leuchten. Drako lehnte sich gegen das Licht des Leuchtkäfer und sagte:

你能发光。你应该飞在我地前面。
„Du kannst leuchten, du solltest vor mir fliegen.“

(全书完)
ENDE